THE

TRUMPET
OF
VENUS
+
e
rs8o.
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1
1 HIS work i

who ha"e
itself to
duce the
patient
who have shown their
gratitude to you is b.1
publishers, writers ad
and wise counsel. I'm als
to my companion Erica,
my life that I'm humble
this gift.
_-merica. The paper used in this
_n. of the American National
of Printed Library Materials
[v]
cdl(ulluR
HIS work is dedicated to the following people
who have made it possible for both this book
itself to manifest and for me to continue to pro
duce the works that I love; first, the loyal and
patient readers of the past twenty-fve years
who have shown their appreciation in countless ways; my
gratitude to you is beyond measure. Secondly, to my fellow
publishers, writers and professionals for their their friendship
and wise counsel. I'm also forever indebted to Phil Legard for
his assiduous work in the proofreading of this volume. Lastly,
to my companion Erica , who has brought such abiding joy to
my life that I'm humbled by the opportunity to reciprocate
this gift.
[VII]
Table i Contents
Dr. John Dee ......................................................................................... frontispiece
Dedication ..................................................................................................... v
Foreward by James Banner .................................................................................... IX
Preface from the Translator by Michael Putnam ............................................ XI
The Magic of Tuba Veneris by Philip Legard .......................................... XVII
Bibliography .......................................... ............................................ XLIX
End Notes .............................................................................................. LIII
The Life of Doctor John Dee by Charles Mackay ......................................... LVII
English Text: The Trumpet ?Venus ................................................................... 1
Introduction by Dr. John Dee .................................................................... 3
Chapter One .................... ..... .. .. .. .................................. .. .... .. .............. ..... 7
Chapter Two .............................................................................................. 11
Chapter Three ............................................................................................ 15
Chapter Four .............................................................................................. 19
In What Manner the Sigils are Made ................................................ 25
The Consecration of the Little Book .............................................. 27
How The Operation is to be Carried Out ................................................ 29
Further Observations ............................................................................. 33
Table i Contents
( CONTI!"ED)
Transcription of\Varburg MS FHB 510 by Richard Brzustowicz .............. 35
Latin Text: Libelus T"eneris X Sar ........................................................ 49
Johannes Dee Amortibus Artis Magicr ................................................... 51
Caput Primum .......................................................................................... 55
Caput Secundum ....................................................................................... 57
Caput Tertium ........................................................................................... 59
Caput Quartrum ......................................................................................... 63
Quomodo hrc Sigilla Spirituum sunt Facienda ................................ 69
Quomodo Libellus iste sit Consecrandus ........................................... 71
Quomodo Operatio Institutuenda sit ............................................ 73
Que Clterius ad huo in Operatio Observanda sunt .................... 77
Selected :Ianuscript Bibliography ................................................................... 79
Reproducton of\Varburg MS FHB 510 ............................................................. 87
[VIII]
""

of ours, Richard Brz
had either authored or
it to Sir Edward Kellv a
his nuptials with Jane (o
Richard and he both on
vided me with a co
py
of
excellent presentation
1Richard Brzustowicz .............. 35
........................................
. .................
.........................55

.................:
..........................................
..........................63
Facienda ................................ -.
candus ........................................... 71
:
.

.............
I
, ............................:.
.............................:
f


I
i
I
i
'
[IX]
Foreward by the Editor
l ms PROJECT came to my attention a decade ago
while socializing with a business associate_
During the late hours one evening while dis
cussing pillow books, he mentioned that Doctor
Dee may have written such a work which still
hadn't found its way into print and that a mutual acquaintence
of ours, Richard Brzustowicz, had made a faithful transcription
of the original manuscript during one of his visits to England
decades before_ The lore given to me at the time is that Dee
had either authored or transcribed the work and presented
it to Sir Edward Kelly as a wedding gift, presumably during
his nuptials with Jane (or Joan) Cooper in 1582. I contacted
Richard and he both confrmed the legend and graciously pro
vided me with a copy of his transcription along with Meier's
excellent presentation of the work.
Libellus Vneri Nigro Sacer vel Tuba Vneris.
While the task of the Latin translation seemed like it'd
be child's play for someone with Michael Putnam's ability I
wondered whether having Meier's entire analysis translated
wouldn't be a wiser avenue to pursue but I eventually aban
doned that idea as impractical. In the interim, several other
projects presented themselves and 'uba Veneris fell by the
wayside. Seven years ago, I developed a proof copy of the book
as it stood and was less than enthusiastic about the results so
I decided to shelve it until it'd matured a bit. Circumstances
at the time made it necessary for me to learn the art of book
binding in order to keep publishing at all, so I busied myself
with focusing on learning to become an adequate bookbinder. I
continued to collect material for inclusion in what I envisioned
to be the present volume and some time later I ran across a
paper Phil Legard wrote on the subject of the Dee manuscript
and decided to ask him whether he'd allow me to include his
excellent treatise and he graciously accepted my invitation.
Today a decade after beginning this project, I feel the book
as a whole is of sufficiently high enough quality to warrant
being offered to the public. When I embarked on this project,
no other English translation of the work existed and since
then a couple others have seen the light of day. I'll leave it up
to you, Gentle Reader, to weigh the the combined efforts you
now hold in your hands against those others which have been
offered to you.
[x]
James Banner, Editor
June 8, 2010
Seattle, Washington usA
FRO>I=

lie

.
I
'I
-j
cer vel Tuba Vneris.
tanslation seemed like it'd
'
.
:lichael Putnam's ability, I
's entire analysis translated
,ue but I eventually aban
ln the interim, several other
ad <uba Veneris fell by the
a proof copy of the book
usiastic about the results so
lltured a bit. Circumstances
1-me to learn the art of book
ng at all, so I busied myself
e a adequate bookbinder. I
iclusion in what I envisioned
8 e time later I ran across a
sbject of the Dee manuscript
he'd allow me to include his
ly accepted my invitation.
g this project, I feel the book
enough quality to warrant
I embarked on this project,
the work existed and since
light of day. I'll leave it up
the the combined efforts you
tose others which have been
James Banner, Editor
June 8, 2010
Seattle, Washington usA
PREFACE
FROM THE TRANSLATOR
Michael Putman
Priace from the 'ranslator
TwAs with profound pleasure and gratification
that I accepted the task of producing the first
English translation of the Tuba Veneris. It is
not often one is able to render the goddess of
love such a service, and I am humbled to have
been given the opportunity.
Although there are three known MSS of the "Tuba" and a
1794 printed edition in Latin and German, I made the trans
lation from the typescript Latin text given in Joerg M. Meier's
German translation and commentary (Das Buechlein der Venus
["Libellus Veneris Nigro Sacer"]: Eine magische Handschri
des 16. Jh. Bonn, 1990). Meier edited his Latin text primarily
from Warburg MS FBH510, which is the oldest extant. His
edition includes an apparatus criticus, and as might be expected
the later MSS show various nonsensical variations from the
Warburg, whence they probably derive. Very rarely does
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Meier reject the Warburg attestation for that of one of the
later MSS.
Early magical texts are notoriously pseudepigraphical.
The authorship of the 'uba Veneris has been ascribed to John
Dee, for the author gives his name as Dee in the text itself
There is, however, much room for doubt. In the above cited
volume, Meier lays out the case both for and against Dee as
the author.
Meier gives several points leading to suspicion of forgery.
The first of these is that all the surviving manuscripts,
including the earliest Warburg MS, were produced on the
Continent, as evidenced by the script; thus Dee's autograph is
not recognizable as his own. Moreover, there is no reference to
the "Tuba" in any of Dee's diaries or other surviving writings.
Another point against Dee as the author is the fact that the date
of the text's composition is given as June 4, 1580, and the place
given as London-this, although Dee's private diary states that
he was at his home in Mortlake on June 7 and most probably
on June 3 as well. There is also the question of why such a
text should have been written in London and not Mortlake,
where Dee's magical and alchemical experiments had been
taking place in any event . Moreover, June 4 was a Saturday
and not a Friday, even though the latter day would be more
appropriate for the composition and consecration of a book
dedicated to Venus. A fnal consideration is that the type of
magic in the "Tuba" is of a nigromantic variety in as much as
it inYohes forcibly evoking and binding spirits, whereas the
magic that Dee was practicing during the 1580's was of a more
religious nature, with prayer as its basis and pious supplication
[XII]
Prifacef
of God's holy angels as i
For all of that, 1leier
classical style, with Yery .
is similar in that respect
Aphoristica et al. ); further
to around 1600, give or t
span of Dee's lifetime. :I -
an exact time and date of
Another interesting p
affection for the Angel ofV
"Deutlich wird eberfalls ein
der Vnus-dem er rnbr a
Buch of Famous and Rich

diaries do show that D
angels on occasion for
of the goals of the "Tuba.
that most pseudoepigra
magicians either partiall
dead; the "Tuba", howeYe " ..
lifetime, when he was big
as a necromancer, but stl
a candidate for reputed
Agrippa, or Faust. L 1
a forgery it is a highly
Continental author in al
of Dee and somewhat f
i
I personally am force 1t
of the evidence leans
is at present no fnal con
[l
!&r vel Tuba Vneris.
I
ton for that of one of the
oriously pseudepigraphical.
has been
_
ascribed to
_
John
;nme as Dee m the text Itself
I fr doubt. In the above cited
bth for and against Dee as
tg to suspicion of forgery.
te surviving manuscripts,
:IS. were produced on the
t; thus Dee's autograph is
-er, there is no reference to
-
or other surviving writings.
I
t'
author is the fact that the date
a June 4, 1580, and the place
De's private diary states that
on June 7 and most probably
the question of why such a
London ad not Mortlake,
cal expenments had been
ver, June 4 was a Saturday
t latter day would be more
and consecration of a book
ideration is that the type of
antic variety in as much as
,
binding spirits, whereas the
g the 1580's was of a more
basis and pious supplication
I

:
; .
Preace from the Translator.
of God's holy angels as its central method.
For all of that, Meier admits, the Latin is of the good neo
classical style, with very few Medieval words (I note that it
is similar in that respect to the Latin in Dee's Propaedeumata
Aphoristica et al. ); furthermore, the Warburg MS can be dated
to around 1600, give or take twenty years, placing it within the
span of Dee's lifetime. Meier also notes that few forgeries give
an exact time and date of composition as does the "Tuba".
Another interesting point here is that Dee did have a certain
affection for the Angel ofVenus, a fact which Meier also notes:
"Deutlich wird ebenfalls eine gewisse Vorliebe Dees fuer den Engel
der Venus-dem er ri nbar einen besonderen A bschnitt in seinem ...
Buch rmous and Rich Discoveries widmete." Moreover, Dee's
diaries do show that Dee and Kelly were wont to pester the
angels on occasion for help in finding buried treasure, one
of the goals of the "Tuba". Finally, there is the consideration
that most pseudoepigraphical forgeries were attributed to
magicians either partially or wholly mythical, or else long
dead; the "Tuba", however, was likely written in Dee's own
lifetime, when he was being somewhat defamed and slandered
as a necromancer, but still not nearly as well-known or likely
a candidate for reputed authorship of a forgery as Solomon,
Agrippa, or Faust. Ultimately Meier concludes that if it is
a forgery, it is a highly unusual one, probably written by a
Continental author in all likelihood familiar with the person
of Dee and somewhat familiar with his magical pursuits.
I personally am forced to agree with Meier that the weight
of the evidence leans against Dee as author, but that there
is at present no final conclusion to the matter. We may now
[XIII]
"j
Libellus Vneri Nigro Sacer vel Tuba Vneris.
say a few things about the content of the text itself and my
translation thereof.
The operative magic the text describes contains many
elements that will be familiar to modern day lovers of the
magical arts-the use of the circle, the burning of the seals
of the spirits to compel obedience, the blowing of a trumpet
before calling the spirits (cf. 'ke Key i Solomon), the author's
exhortation that the operator be stern and resolute and not
let himself be cozened by the spirits or reduced to haggling
with them, etc.
Meier gives a detailed analysis and commentary of the
text in his edition, to which the reader is again referred.
His opinion is that the 'uba Veneris as a whole stands in the
tradition of Agrippa, pseudo-Agrippa, and the Heptameron of
Peter of Abano ( "Der Text ... steht weitgehend in der Tradition des
!/Buches der Occulta Philosophia Agrippas und das Heptameron
des Pietro de Albano."
The actual names of the spirits are similar to those found
in the "Herpentil" and the Libellus St. Gertrudis, and in fact
Meier believes that the compiler of the "Herpentil" is using
the "Tuba" as his source for these names ("Dies bestaetig den
bereits oben geauesserten Vrdacht, das es sick bei diesem Text um
eine relativ Junge Kompilation handelt, so das man den Libellus
Vneris mit Sicherheit als das weit aeltere Wrk wird bezeichnen
duein, das sehr wahrscheinlich eine Quelle fuer den Kompilator
des Herpentil geliert hat.'') The barbarous names of evocation
found in the conjurations are also very similar to those found
in these works. The sigils of the spirits appear to be derived
by a similar method as given in Agrippa for deriving the sigils
[XIV]
Preface fro j
of planetary spirits and i
eine Art der Bildung n
Methode ... DerGrundlpu
Siills sehr aehnlich. "
l
Finally, a note on my
practical magical manual
to give a fairly literal Ds`
have maintained the author"s.
wish to thank Prof
State University for h:s
preparing this translation.
post-classical Latin has b

[1
r vel Tuba Vneris.
I
t of the text itself and my
i

t describes contains many
rt modern day lovers of the

e the burning of the seals

the blowing of a trumpet
o Solomon), the author's
sern and resolute and not
t or reduced to haggling

and commentary of the
reader is again referred.
a a whole stands in the
and the Heptameron of
hd in der Trdition des
igps un ds Heptameron
are similar to those found
St. Gertrudis, and in fact
of the "Herpentil" is using
names ( "Dies bestaetigt den
"es sich bei diesem Text um
It, so ds man den Libellus
alee Jerk wird bezeichnen
Quel fuer den Kompilator
.larous names of evocation
ery similar to those found
spirits appear to be derived
ppa for deriving the sigils
I
i
I

!
i
Priace from the Translator
of planetary spirits and intelligences ( /grippa erklaert [I.30]
eine Art der Bildung von Sigillen mittels einer kryptogrphischen
Methode ... Der Grundtpus solcher Figuren ist dem des vorliegenden
Sigills sehr aehnlich. "
Finally a note on my translation itself. Since our text is a
practical magical manual and not a literary work, I have opted
to give a fairly literal translation. It should also be noted that I
have maintained the author's capitalization of certain words.
I wish to thank Professor Frank T Coulson of the Ohio
State University for his consideration and assistance in
preparing this translation. His instruction in paleography and
post-classical Latin has been most helpful.
[xv]
Michael A. Putman
July 20, 2004
London, Canada
THE MAGIC
OF THE TUBA VENERIS
Philip Legard
l.


!
I
I
[XVII]
The Magic i the Tuba Veneris
IBELLUS Vneri Ni
g
ro Sacer, or 'uba Veneris, is
undoubtedly one of the most mysterious texts
of ritual magic that has thus far come to light.
Attributed to the renowned English magus
and mathematician, Dr. John Dee, the grimoire
sets itself apart from the highly formulaic literature of ritual
magic by possessing subtle hints of genuine artistic merit and
a profound understanding of the more cerebral, Classically
learned magical theory of Agrippa et al. Within the context of
a work on ritual magic the text conveys attitudes symptomatic
to the rebirth of Classical learning that characterised the
Renaissance and whose legacy even now influences European
culture.
Upon first reading the text everything we see raises more
questions than answers. Who exactly is this 'Black Venus'?
Did John Dee really compose the ritual? What exactly are the
Libellus Vneri Nigro Sacer vel Tuba Vneris.
natures of the 'daemons' that are discussed within the text?
What do the barbarous words of their invocations signify? The
Tuba Vneris may be a short work, but it is an enigmatic one.
In spite of its brevity it is a work of no mean depth, some of
which I hope to cast light upon by way of this introduction.
John Dee and the Solomonic Tradition
The 'uba Veneris exists in several manuscripts, of which
the Warburg copy is thought to be the oldest.1 Although
the manuscript probably dates from the frst half of the 1
7
1h
century possibly even being composed toward the end of Dee's
life, the flowing hand preserved in the manuscript is certainly
not that of Dee.
Aside from the graphological differences, there is significant
documentary evidence that indicates the attribution to Dee is
spurious.2 It is well known that Dee was extremely concerned
about having his name connected with dubious magical
practices. His particular interest in Cabalistic and alchemical
works had not gone unnoticed amongst his contemporaries,
most notable among them John Foxe author of the monumental
and immensely popular Actes and Monuments i the Church
(1563). Discussing the trial and martyrdom of Archdeacon
John Philpot, Foxe refers to Dee, who was one of the examiners
in the case, as 'the great Conjuror'.5 This incensed Dee and it
seems that he took the opportunity to rebuff his critics in his
Priace to Euclid (15
7
0), where he interrupts his discussion of
thaumaturgy to rail against those who confuse natural magic
with sorcery and conjuration.4 A similar vindication against
[XVIII]
The.Uagc
such rumours is the corn
(1599), which proclaims
fruent Protestation, fr t
Christian course, i the A
certain studious Gentlmn
In addition to this De
way of connection with s
long concern. It seems d
his name on a document
see, with the conjuration o,
that the 'uba Veneris was
who, being acquainted w
superfcial understanding
added his name as a stamp
The pseudepigraphic
regular feature of the g1
invariably these works a'
respected historical figur
Often Solomon is allege
the oldest known example
dates from between the 1
from Coptic Egypt fom
similar attributions, claim .
the Apostles, even Jesus
a.
of magical tracts. 8

By the time we reach t,
was probably composed.
tj
comprehensive works cir
c
Saar vel Tuba Veneris.
discussed within the text?
their invocations signify? The
but it is an enigmatic one.
of no mean depth, some of
bv way of this introduction.
lmonic 'rdition
I
rra manuscripts, of which
to b the oldest. 1 Although
&m the frst half of the 17
t
h
toward the end of Dee's
was extremely concerned
ted with dubious magical
in Cabalistic and alchemical
amongst his contemporaries,
Fo:e author of the monumental
an lonuments i the Church
l martyrdom of Archdeacon
who was one of the examiners
r'.5 This incensed Dee and it
't to rebuf his critics in his
interrupts his discussion of
who confuse natural magic
A similar vindication against
The Magic of the Tuba Veneris.
such rumours is the cornerstone of his Discourse Apologeticall
(1599), which proclaims to be "a plaine Demonstrtion, and
fruent Protestation, fr the lawfull, sincere, very Jaithfull and
Christian course, i the Philosophicall studies and exercises, of a
certain studious Gentleman. "5
In addition to this Dee, toward the end of his life, petitioned
James I to allow him to prove such continued allegations
fallacious in a court of law. 6 This indicates that defamation by
way of connection with superstitious magical arts was a life
long concern. It seems doubtful, therefore, that he would sign
his name on a document that so explicitly deals, as we shall
see, with the conjuration of evil spirits. It seems far more likely
that the 'uba Veneris was the work of a 171
h
century author,
who, being acquainted with Dee's reputation and having a
superfcial understanding of his magical work and interests,
added his name as a stamp of authority upon his text,?
The pseudepigraphic attribution of magical works is a
regular feature of the genre of grimoire literature. Almost
invariably these works are attributed to some learned and
respected historical fgure to lend authority to their contents.
Often Solomon is alleged to be the author, and indeed, one of
the oldest known examples is the 'estament i Solomon, which
dates from between the 1st and srd centuries AD, while works
from Coptic Egypt from around the same period also employ
similar attributions, claiming fgures such as Moses, Thoth,
the Apostles, even Jesus and Mary themselves as the authors
of magical tracts. 8
By the time we reach the period in which the 'uba Veneris
was probably composed, the early 17
t
h
century, we fnd many
comprehensive works circulating in manuscript form that are
[XIX]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
attributed to favourite ancient authorities such as Solomon,
Hermes and Ptolemy, along with more recent figures such
as Peter d'Abano and Cornelius Agrippa.9 The 'uba Veneris
bears the hallmarks of a text that derives from these traditions,
although this is coupled with the Classical learning so evident
during the Renaissance and Baroque periods-in particular the
streams ofNeoplatonic thought that Agrippa disseminated to
his magically-minded audience via the Three Books i Occult
Philosophy. Whereas many so-called Solomonic texts are
variants on older works, compilations or simply 're-brandings'
under the name of a different authority, this short text
presents an entirely novel synthesis of pre-existing magical
and philosophical traditions.
Whether the 'uba Veneris is the work of John Dee or
not, I will let the reader decide. There are some tantalising
similarities with his work. There is Dee's fascination with
number, and even the possibility of a cryptographic cipher
as found in Trithemius' Steganographia, a work that Dee
became particularly fixated upon. The powers possessed by
the daemons also particularly relate to Dee's interests. There
is most obviously the passing reference to finding hidden
treasure: an activity notably pursued by Dee and his scryers,
although they were certainly not alone in supposing the
landscape to be full of undiscovered hordes.10 Additionally
navigation is mentioned, which was of keen interest to this
friend of Mercator who mentions that he has written several
unpublished works on the subject in his Discourse Apologeticall.
The daemons also have powers in business and war may allude
to Dee's ofcial duties on behalf of the crown.
[XX]
The \lagc
Finally the book is
his Private Diary it seems
of London at that time. i
experiments with Barn
begin.
The Classical In
The learned magical a
them Ficino, Agrippa
rediscovery of Classical
beyond common conjur
philosophy.
However, there wer
an earlier model, one tha
through the imitation o'
the related conventions r_
domineering edifces ofs
.
associated with the g
Solomon to the Grn
from this particular su
It is apparent from t

inspirations of the autho .

the inheritance of pst- .
legend. Rather they he
the Classical pagan wor. 1
apparent that this text I
pagan Mediterranean: .
1
I
'cer vel Tuba Vneris.
! authorities such as Solomon
!w more recent fgures sud
j .-grippa.9 The 'uba Veneris
deri,es from these traditions,
Oassical learning so evident
ue priods-in particular the
tat .-grippa disseminated to
,;a the Three Books i Occult
-led Solomonic texts are
ns or simply 're-brandings'
authority, this short text
_i of pre-existing magical
Tere are some tantalising
i Dee's fascination with
of a cryptographic cipher
raphia, a work that Dee
. The po,,ers possessed by
e to Dee's interests. There
rference to fnding hidden
e by Dee and his scryers,
not alone in supposing the
ered hordes.10 Additionally
was of keen interest to this
that he has written several
.
i his Discourse Apologeticall .
.bsiness and war may allude
of the crown.
I
=
!
!
The Magic of the Tuba Vneris.
Finally the book is dated June 4th 1580, London. From
his Private Diary it seems that Dee was indeed in the vicinity
of London at that time, it being one year before his angelic
experiments with Barnabas Saul and Edward Kelly would
begin.
The Classical Inheritance i the Tuba Veneris
The learned magical authors of the Renaissance, among
them Ficino, Agrippa and Bruno owed a great deal to the
rediscovery of Classical literature, which elevated their studies
beyond common conjuration, into the realms of theology and
philosophy.
However, there were still magical practitioners following
an earlier model, one that sought power over spiritual entities
through the imitation or adaptation of liturgical ritual and
the related conventions of legal language: two imposing and
domineering edifces of Medieval life. The books now popularly
associated with the grimoire genre, from the Clavicules i
Solomon to the Grnd Grimoire, generally take their approach
from this particular stream of magical thought.
It is apparent from the outset of the 'uba Veneris that the
inspirations of the author of this particular grimoire lay beyond
the inheritance of post-Medieval Christendom and Biblical
legend. Rather they hearken back to the magical culture of
the Classical pagan world. From the frst sentence alone it is
apparent that this text owes a debt to the mythologies of the
pagan Mediterranean: "The name Vnus among the Stars was
[XXI]
Libel/us Vneri Nigro Sacer vel Tuba Vneris.
given to me by the Gods (a Superis)."
This is to say nothing of the striking image of the
frontispiece that depicts the goddess herself arrayed in a red
black mantle, holding her magical implements and standing
upon a appropriately verdant patch of grass. Depicted as a
fair-skinned maiden it is seems that her 'blackness' relates to
her association with six nocturnal spirits, who are described
as 'Infernal dwellers' in the introductory verse.
Throughout the history of myth and magic the traditional
representation of Venus, or Aphrodite, has been that of a
fair-haired and beautiful woman. Indeed, there may even be
said to be a rough suggestion of Botticelli' s The Birth i Venus
in this image. In the context of magic it was through cross
pollination with Arabic astrological magic that these depictions
of the gods and goddesses lost their pagan identities and
became considered purely as celestial images: fgures somehow
impressed upon the world-soul, which could be exploited by
creating talismans in their likenesses.
Such images are found in many sources, the most popular
among them Agrippa' s Three Books i Occult Philosophy and the
Picatri, although there are innumerable other minor works
on such astrological magic. 11 Although they ofen refer to the
talismanic image of Venus as being a naked woman none of
the common sources describe the image of Venus as having a
red or black mantle, nor any of the other accoutrements she
is shown with on the 'uba Veneris frontispiece. The following
example from Agrippa' s 'hree Books is typical of the talismanic
representations of Venus:
"They made another image of Venus, the frst face of Taurus or Libra
or Pisces ascending with Venus, the fgure of which was a little maid
with her hair spread abroad, clothed in long and white garments,
[XXII]
The .\fagc

holding a
.
laurel, apple. o .
comb. It 1s reported to
and to give beauty ... :
:
Some tantalising hints
fgure of the black Venus
literature. Perhaps the n
of Aphrodite Philopannyx
night". This epithet occur 4
which the 'uba Venri au
would probably have be
at all familiar with the W
Greece, composed in the
an Aphrodite Melaina-th l
to the fact that men d not a I
always by day, but in mst
Furthermore, there i
dissemination across E
and contains some (p -
relating to the cult oflsis_
This work is Lucius Apu
Composed at some point i
tells of the bawdy adwn

by the third book, is ta
meddling with a witche
In the eleventh bk
a human calls upon the
in a dream vision of the
become an initiate in an
The description of the ' -
formulae for image mac
"First shee had a great abl
-
L.
I
ec vel Tuba Vneris.
!
"
! the striking image of the
ess herself arrayed in a r

d
implements and standmg
tch of grass. Depicted as a
tat her 'blackness' relat

s to
..
spirits, who are descnbed
uctorv .-erse.
and
-
magic the traditional
oite, has been that of a
Inded, there may even be
Btcl' s The Birth r Vnus
mic it was through cross
magc that these depictions
their pagan identities and
images: fgures somehow
which could be exploited by
\ surces, the most popular
o Occult Philosophy and the
erable other minor works
ugh they often refer to the
g a naked woman none of
image of Venus as having a
te other accoutrements she
fontispiece. The following
-i typical of the talismanic
the frst face of Taurus or Libra
fi gre of which was a little maid
in long and white garments,

I
i
The Magic of the Tuba Vneris.
holding a laurel, apple, or flowers in her right hand, and in her lef a
comb
.
It is reported to make men pleasant, jocund, strong, cheerful
and to give beaut
y
.
"12
Some tantalising hints as to the ultimate inspiration for the
figure of the black Venus can be found throughout Classical
literature. Perhaps the name is derived from the cult epithet
of Aphrodite Philopannyx-"Night-loving," or "Lover of all he
night". This epithet occurs in the Orphic Hymn to Aphrod1t

,
which the 'uba Veneris author would have known, although It
would probably have been in the Latin translation if he were
at all familiar with the work. 13 Additionally, in his Guide to
Greece, composed in the 2n
d
century AD, Pausanias mentions
an Aphrodite Melaina-the "Black Aphrodite"-so called "due
to the fact that men do not, as the beasts do, have sexual intercourse
always by day, but in most cases by night."14
Furthermore, there is a Latin work that enjoyed wide
dissemination across Europe from the mid-151h century onward
and contains some (possibly autobiographical) information
relating to the cult of! sis-Aphrodite and her stygian connections.
This work is Lucius Apuleius' Metamorphoses, or 'he Golden .Ass .
Composed at some point in the mid-to-late 2n
d
century AD, it
tells of the bawdy adventures of the aristocratic Lucius who,
by the third book, is transformed into an ass through reckless
meddling with a witches' magical ointment.
In the eleventh book, Lucius desperate to turn back into
a human calls upon the "blessed feene ci Heaven," resulting
in a dream vision of the goddess that ultimately leads him to
become an initiate in an Egyptian cult serving Isis and Osiris.
The description of the vision itself reads not unlike one of the
formulae for image magic occurring in Agrippa:
"First shee had a great abundance of haire, dispersed and scattered about
[XXIII J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
her neck, on the crowne of her head she bare many garlands enter laced
with foures, in the middle of her forehead was a com passe in fashion
of a glasse, or resembling the light of the Moone, in one of her hands
she bare serpents, in the other, blades of corne, her vestiment was of
fine silke yeelding divers colours, sometime yellow, sometime rosie,
sometime flamy, and sometime (which troubled my spirit sore) clarke
and obscure, covered with a blacke robe in manner of a shield.'"15
Furthermore the goddess herself declares some explicit
connections between not only the celestial regions, but also
the underworld:
"I am she that is the naturall mother of all things, mistresse and
govern esse of all the Elements, the initiall progeny of worlds, chiefe of
powers divine, Queene of heaven! the principall of the Gods celestiall, the
light of the goddesses: at my will the planets of the ayre, the wholesome
winds of the Seas, and the silences of hell be diposed; my name, my
divinity is adored throughout all the world in divers manners, in variable
customes and in many names, for the Phrygians call me the mother of
the Gods: the Athenians, Minerva: the Cyprians, Venus: the Candians,
Diana: the Sicilians Proserpina: the Eleusians, Ceres: some Juno, other
Bellona, other Hecate: and principally the Aethiopians which dwell in
the Orient, and the Aegyptians which are excellent in all kind of ancient
doctrine, and by their proper ceremonies accustome to worship mee,
doe call mee Queene Isis."16
The connection of this goddess with agricultural deities
such as Proserpina, Demeter and Ceres is telling, since such
goddesses were generally considered chthonic-the germination
of seeds and so forth being processes that took place beneath
the earth, on the margins of the underworld. The most explicit
connection between this many-named goddess and the stygian
world relate to her predictions pertaining to Lucius' initiation
into her cult. Lucius glosses over the exact details when he
comes to recount them, but it is evident that the initiation
involves a descent to the underworld, domain of the patron
[XXIV]
The . " agc
guide and protection. and
shalt see me shine in that
now) in the darkness of .\c
of Stix, thou shalt worship
and if I perceive that thou ar
my religion, and merite my
thy dales above the tme ta
Planets ordeined."b
However, it is impr
Vneris as a revival or r
even a survival of Lucius"
of learned occultism that
[
I
tscr vel Tuba Vneris.
jshe bare many garlands enterlaced
head was a compasse in fashion
the :foone, in one of her hands
of corne, her vestiment was of
metme yellow, sometime rosie,
! troubled my spirit sore) darke
r i manner of a shield."15
ll declares some explicit
t celestial regions, but also
I
r of all things, mistresse and
ita progeny of worlds, chiefe of
ppll of the Gods celestiall, the
plet of the a)e, the wholesome
o hel b diposed; my name, my
e accustome to worship mee,
ss \\ith agricultural deities
Ceres is telling, since such
chthonic-the germination
es that took place beneath
' Wderworld. The most explicit
e goddess and the stygian
naining to Lucius' initiation
r the exact details when he
i e\ident that the initiation
orld, domain of the patron
-=
The Magic of the Tuba Vneris.
deities of the sect-Isis and Osiris:17
"Thou shalt live blessed in this world, thou shalt live glorious by my
guide and protection, and when thou descendest to Hell, where thou
shalt see me shine in that subterene place, shining (as thou seest me
now) in the darkness of Acheron, and raigning in the deepe profundity
of Stix, thou shalt worship me, as one that hath bin favourable to thee,
and if I perceive that thou art obedient to my commandement, addict to
my religion, and merite my divine grace, know thou, that I will prolong
thy dales above the time that the fates have appointed, and the celestial
Planets ordeined
."18
However, it is important that we do not consider the Tuba
Vneris as a revival or reconstruction of ancient paganism, or
even a survival of Lucius' Isis cult. Like many of the works
of learned occultism that fourished in the Renaissance, the
pagan aspect is somewhat ambiguous. As I have mentioned
previously, the imagery of the pagan world generally became
assimilated into a mechanical system of astral magic whereby
the ancient myths explained the natures of the planets and
gave indications as to how their virtues may be exploited.
An allegiance to this type of astral philosophy is indicated
by the author of the 'uba Veneris who refers to his depiction
of Venus as "a certain image representing the fgure i the planet. "
Therefore the Venus being referred to in the text is not
intended as an object of pagan veneration, but is a talismanic
image-an expression of the nature and infuence of the planet
Venus. In the ritual itself, the subjugation of the daemons
occurs through the agency of Anael, the angel of the Venereal
sphere, rather than explicitly via the goddess. Outside of
the opening verse and reference to the "certain image", the
goddess is never explicitly referred to. Such astral relationships
[xxv]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
with the pagan gods are hinted at in Agrippa, but are most
explicit in Ficino's astrological practice, which used ancient
Orphic Hymns to attract stellar infuence and afect the soul
of the singer, rather than to call down the favour of the pagan
divinities for whom they were originally composed.19
Further hints of Classicism can be found throughout the
text, such as the specifcation that the Seal of Venus should
be engraved upon Cyprian copper, an allusion to the Classical
myth that Aphrodite was born at sea and came ashore at
Cyprus.20 The author also demonstrates his Classical learning
during the consecration of the magical book, or Liber Spirituum,
for which he has composed three verses loosely in the Sapphic
style. Despite the author seeming to pay little heed to the
prosody of the Sapphic form, and one of the lines being too
long, this verse is still something of a novelty in the realm
of grimoire literature, which usually prefer more utilitarian
forms of writing, generally drawing on a Biblical 'fre and
brimstone' approach.21 Since Sappho was best known for her
erotic lyrics, the Sapphic verse-form would be appropriate for
a work dealing with Venereal forces.
Some of the most striking aspects of the Tuba Veneris are
the numerological characteristics. The text is dominated
by instances of the number six, the use of which ultimately
derives from Pythagorean philosophy. Although the number
seven is most often associated with Venus, the author has
obsessively structured his work around the number six: the seal
is six-sided, there are six daemons and the circle is six feet in
diameter, and so on. The only other magical text contemporary
with the work that has a comparable numerological obsession
is the Heptarchia Mystica-a magical work undoubtedly by Dee,
[XXVI]
The .'Iagc
l
which uses a sevenfold -i
Veneris goes further tha
employment of number.
1he otion of six as a
Agnppa s Three Books c1
the numbers ascribed to
states:
:
"The number six, which c
sexes, is by the Pythagor

belongs to Venus, and Jun

By 'a Commixtion ciO
six is, according to Pyth
of the first 'masculine' n
number (two). This notio
even numbers as feminine
Metaphysics:
" ... there are ten principle
cognates-limit and unlimi
and left, male and female
light and darkness, go al!
It is worth noting that -
along with Theon ofSm
the ancient templates for
that fourished in the He
notable among these the
( 1531) and the later co
derivative of Agrippa.
Calndar of Frankfurt He
(1620).25

The number three sel
importance in the text. F
[l
at i Agrippa, but are most
practice, which used ancient
infuence and afect the soul
dwn the favour of the pagan
composed.19
b found throughout the
the Sal of Venus should
at sea and came ashore at
a!1< his Classical learning
bok. or Liber Spirituum,
'-rs l<sely i the Sapphic
to pay little heed to the
oe of the lines being too
of a novelty in the realm
prefer more utilitarian
on a Biblical 'fire and
was best known for her
would be appropriate for
of the 'uba Veneris are
The text is dominated
the use of which ultimately
y . -lthough the number
";th Venus, the author has

..
,n
n
the number six: the seal
and the circle is six feet in
magcal text contemporary
ale numerological obsession
work undoubtedly by Dee,
The Magic of the Tuba Vneris.
which uses a sevenfold scheme throughout. However, the 'uba
Veneris goes further than the Heptarchia in its meticulous
employment of number.
The notion of six as a Venereal number is recorded in
Agrippa's Three Books i Occult Philosophy. In his discussion of
the numbers ascribed to the gods" by the Pythagoreans", Agrippa
states:
"The number six, which consists of two threes, as a Commixtion of both
sexes, is by the Pythagoreans ascribed to generation, and marriage, and
belongs to Venus, and Juno."22
By 'a Commixtion i both sexes' Agrippa is pointing out that
six is, according to Pythagorean numerology the multiplication
of the first 'masculine' number (three) and the first 'feminine'
number (two). This notion of odd numbers as masculine and
even numbers as feminine is recorded in part five of Aristotle's
Metaphysics:
" ... there are ten principles, which they arrange in two columns of
cognates-limit and unlimited, odd and even, one and plurality right
and left, male and female, resting and moving, straight and curved,
light and darkness, good and bad, square and oblong."""
It is worth noting that this system of binary correspondences,
along with Theon of Smyrna's writing on the quaternary, are
the ancient templates for the systems of occult correspondences
that flourished in the Hermeticism of the Renaissance. 24 Most
notable among these the tables in Agrippa' s Occult Philosophy
( 15.1) and the later collection of magical correspondences,
derivative of Agrippa, that are presented in the Magical
Calndr of Frankfurt Hermeticist Johann Baptista Grosschedel
(1620).
25
The number three seems to play a part of secondary
importance in the text. For example, with the exception of
[XXVII]


I
I
I


I
1
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Amabosar, the daemons mentioned in the text have names
consisting of three syllables. This means that the total
number of syllables in the daemonic names comes to 19
(3+3+.+.+.+4). 19 multiplied by 6, the number of prime
importance in the text, is 114-the number of syllables in three
Sapphic stanzas. This may, however, be coincidence-such are
the diffculties of analysing works of this nature-or it may
indicate that the daemons are bound to the book through a
numerological relation between their names and the verses
used to consecrate it.
The Infuence i Contemporry Magical Literture
As has been noted above, Agrippa seems to have been
instrumental in imparting Classical infuences to our author.
However, Agrippa's work concentrated almost solely on
the theories behind natural, astral and spiritual magic. For
Agrippa to set down the particulars of practice, such as the
invocations, instructions for ritual regalia and so forth would
undoubtedly have been folly on many levels. Therefore the
detailed instructions for practical ritual magic generally
circulated privately in manuscripts, occasionally being printed
where sympathetic communities fourished, such as in the
Rhinelad Palatinate of the 17
th
century26
It is evident that the author the 'uba Veneris had access to
several such practical works. The Book i the Spirits, or Liber
Spirituum, is mentioned in the Key i Solomon amongst others.
However, the author's description of the book has striking
similarities with the process described in The Fourth Book i
[XXVIII]
The .g
I
Occult Philosophy, attriut
and the Fourth Book descr .
the names, invocations
mentions binding the bo '
talismans on the frst ad
his authority over the dae
book.
Such magical books
the toolkit of the ritual
Solomonic work and .-
that the spirits will ap
book and reading their
his discussion of cons
tradition of the Liber Sp
the 15th century and that i
ineffectual then his bok
certain techniques and it
Once the book has be
advises caution, saying t
and kept secure, with e
I
the consecrtion to oen in
operator" Although may
the (often very lengthy
[j
j vel Tuba neris.
i the text have names
This means that the total
onic names comes to 19
l bv 6. the number of prime
.. n
.
uumber of syllables in three
be coincidence-such are
of this nature-or it may
d to the book through a
ti names and the verses
I
r Jfal Literture
-ppa seems to have been
infuences to our author.
tated almost solely on
and spiritual magic. For
of practice, such as the
rglia and so forth would
manv leYels. Therefore the
a ritual magic generally
ocasionally being printed
fourished, such as in the
tur_.l6
:uba Tneris had access to
Bk r the Spirits, or Liber
o Solomon amongst others.
of the book has striking
"bd in The Fourth Book ri

i
-
!
J
The Magic of the Tuba Vneris.
Occult Philosophy, attributed to Agrippa. Both the Tuba Veneris
and the Fourth Book describe the Liber Spirituum as containing
the names, invocations and seals of the spirits. Agrippa
mentions binding the book between two curious apocalyptic
talismans on the first and last leaves of the book, presumably
indicative of divine power over -he spirits.27 Similarly, the
author of the Tuba Veneris suggests that the 'character of
Venus' (presumably the double-sided hexagonal seal) be drawn
upon the book, alongside the aforementioned 'certain image'
of the goddess, presumably with a similar purpose in mind.
In addition to this, the angel Anael is called upon to impose
his authority over the daemons during the consecration of the
book.
Such magical books seem to have been commonplace in
the toolkit of the ritual magician. Both Mathers' composite
Solomonic work and Agrippa' s Fourth Book seem to indicate
that the spirits will appear immediately upon opening the
book and reading their conjurations.28 Richard Kieckhefer, in
his discussion of consecrated magical books, notes that the
tradition of the Liber Spirituum was widespread by at least
the 15
th
century and that if a magician were to find his rituals
ineffectual then his book could be re-consecrated according to
certain techniques and its efcacy to be restored. 29
Once the book has been written and consecrated Agrippa
advises caution, saying that the book "is to be adorned, garnished,
and kept secure, with Reisters and Seals, lest it should happen ater
the consecration to open in some place not intended, and endanger the
operator" Although many modern authors have claimed that
the (often very lengthy and tedious) prayers and conjurations
[XXIX]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
of ritual magic should be addressed from memory it would
appear that the commonly perceived image of the magician in
his circle reading aloud from a magical book is actually closest
to the authentic procedure of magical evocation-at least in this
instance.
The author's instruction to bury the magical implements
"in the earth next to the powers of .fowing water," until such time
as they are required is significant. It stirs up once more the
connection between Venus and the underground and is an
explicit instruction to put the items in a place of Venereal
influence. Agrippa provides a list of geographical features that
are ascribed to the planets, amongst them:
"To Venus, plasant funtains, green Meadows, fowrishing [fourishing]
Gardens, garnished beds, stews [brothels J (and according to Orpheus)
the sea, the sea shore, baths, dancing-places, and all places belonging to
women."30 (My italics).
The association of water with Venus again harkens back to
the Classical mythology surrounding the birth of Aphrodite
the goddess was born from foam when Uranus' genitals were
cut off and cast into the sea by his son, Kronos.31 Agrippa
mentions Orpheus, who sings in his Hymn to Venus that she
is "noicing in the azure shores, Near where the sea with faming
billows roars. "32
As with the Liber Spirituum, the trumpet is not a unique
ritual device. It is found elsewhere in magical literature, but
nowhere is it as strikingly employed as in the Tuba Veneris. One
is notably used in the Key of Solomon and related manuscripts
as a preparation for the conjuration of the spirits, where it is
blown to the "fur quarters of the Universe."33 The trumpet is
generally an instrument associated with war, and therefore
[xxx]
The J!agc
a Martial influence. Ho
instruments-music bing
Bruno's De Imanum C
a type of curved horn u
to that held by the im
instruments were usuall
made of animal horn. H
'
perhaps be interpreted a
the demons are claime t
Pentacle of Solomon e
text called the Goetia, a
many other texts as as_
both the Goetia and <ub
or pentacle, whilst c
texts also employ the t,
of a spirit as a form of
to discipline it if unruly. . .
a heated box, the : uba V q
itself and applying it to
approach presumably u
the metals upon which
The magical circle i
grimoire. The primary .
I
rBcer vel Tuba Vneris.
d from memory it would
e image of the magician in
mc book is actually closest
ca eYocation-at least in this
by the magical implements
aing water" until such time
t It stirs up once more the
te underground and is an
ims i a place of Venereal
of gegraphical features that
t them:
Iws fowrishing [fourishing]
I [ and according to Orpheus)
. and all places belonging to
Vnus again harkens back to
-
rn
g the birth of Aphrodite
"hen Uranus' genitals were
his son, Kronos.31 Agrippa
his Hymn to Venus that she
NT ahere the sea with faming
the trumpet is not a unique
i magical literature, but
as i the Tuba Vneris. One
nand related manuscripts
n of the spirits, where it is
Cniverse."33 The trumpet is
with war, and therefore
)
The Magic of the Tuba Vneris.
a Martial infuence. However, there is a list of the musical
instruments-music being associated with Venus-in Giordano
Bruno's De Imanum Compositione, which mentions the lituus,
a type of curved horn used in warfare, whose form is similar
to that held by the image of the goddess, although such
instruments were usually cast in brass, rather than being
made of animal horn.34 The warlike nature of the horn could
perhaps be interpreted as relating to the infuence in war that
the demons are claimed to possess. In the Tuba Veneris the horn
is to be taken from a live, but presumably sedated, bull-the
zodiacal animal of Taurus, whose ruling planet is Venus. After
which the horn is washed with a solution of vitriol (copper
sulfate) and wine vinegar. This results in a natural dye, giving
the horn a blue-green tint .
The six-sided Seal of Venus itself is analogous to the
Pentacle of Solomon employed in the 17th century magical
text called the Goetia, as well as with the lamen prescribed by
many other texts as a symbol of authority over the spirits. In
both the Goetia and Tuba Veneris, the magician wears the seal,
or pentacle, whilst carrying out the ritual operations. Both
texts also employ the technique of applying heat to the seal
of a spirit as a form of torture to encourage it to appear, or
to discipline it if unruly. While the Goetia advises the use of
a heated box, the Tuba Veneris recommends heating the seal
itself and applying it to the wax characters of the spirits-an
approach presumably used because wax is less durable than
the metals upon which the Gaelic seals are inscribed.
The magical circle is a device found in almost every
grimoire. The primary purpose of the circle in ritual magic
[XXXI]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
seems to be for protection: "It is," the author of the Tuba Vneris
says "ust as a very strong frtress, in order to protect themselves
from the snares i the Daemons." The circle is usually inscribed
with names and words of power and this particular example
contains three bands with the following words derived from
Judea-Christian religious/magical formulae:
+Mi+chael+AGLA+Uri+el+ALPHA+
Gabriel +OMEGA+ Raph+ael +ON
+Joan +nes+ JESUS+ Lu +case+ NAZ + RENUS
+Ma+thew+REX+Mar+cus+JUDEORUM
("Jesus i Nazareth, King i the Jews')
+TETRAGRAMMATON +JEHOVA +ELOHIM+ADONAY
The circle is divided into four quarters, its fourfold nature
refected in the use of the names of the four angels of the
cardinal points and the four evangelists. Interestingly the
order of the names to the cardinal points does not correspond
to the order given in Agrippa or other sources with which I am
familiar. For example, proceeding clockwise from the north,
Grosschedel's Magical Calendar gives the orders Gabriel,
Raphael, Uriel, Michael for the angels and the Matthew, Mark,
Luke and John for the evangelists.35 It seems as though the
names attributed to the south and west have been exchanged
for some reason. It seems unlikely given his obvious learning,
but one explanation for this is that perhaps the author was
unconcerned with the symbolic relationship between names
and directions, but solely sought to use them to strengthen
his circle.
[XXXII]
The llag 1
Many of the ingr
back to the work of
Liber Jurtus. The fumi .
book I, chapter XIII
lists the stones, plants

The dove, a feather of w

for the number se,en . ..
both to write the bok
sources presumably f
those authors. It present
relating to the planets
as they progress from

Fig. 1. Planetary seals fom ti

[
vel Tuba Feneris.
te author of the Tuba Vneris
in ordr to protect themselves
Te circle is usually inscribed
ad this particular example
O\ig words derived from
formulae:
... X.-Z+REUS
-JLDEORC:
qft J"
'.- \ +EHII +ADO NAY
quaters, its fourfold nature
of the four angels of the
gelists. Interestingly the
pits does not correspond
r sources with which I am
clockwise from the north,
g,es the orders Gabriel,
Is and the Matthew, Mark,
;. It seems as though the
west have been exchanged
gwn his obvious learning,
t prhaps the author was
- rlationship between names
to use them to strengthen
The Magic r the Tuba Vneris.
Many of the ingredients used by the author can be traced
back to the work of Agrippa, or further back to 13th century
Liber Juratus. The fumigation contains elements all found in
book I, chapter xxvm of Occult Philosohy, in which Agrippa
lists the stones, plants and animals under the power of Venus.
The dove, a feather of which is used to write the Liber Spirtiuum,
is associated with Venus in Agrippa's table of correspondences
for the number seven.36 Once more the vitriolic water is used,
both to write the book and to consecrate it.37
It seems probable that one the sources the author consulted
was some variant on Grosschedel's Mcal Calendar, if not
the version published by Theodorus de Bry in 1620. The
Calendar is a synthesis of Agrippa' s magical correspondences
and material from Paracelsus, pseudo-Agrippa and other
sources presumably from manuscripts contemporary with
those authors. It presents a set of seven very interesting seals
relating to the planets, which seem to increase in complexity
as they progress from Saturn to Luna.
Fig. 1. Planetary seals from the Grosschedel' s Ma
g
ical Calendr ( 1620 )"8
[XXXIII J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
The Seal of Venus prescribed by the 'uba Veneris contains a
version of the sigil enclosed in the heptagon above, along with
the sign of the angel Anael. This sign of Anael would have been
well-known to practitioners of magic throughout Europe. It
is most famously described in the Heptameron, a text of ritual
magic attributed to the 13th century scholar Peter d' Abano, but
which was most likely composed no earlier than the cusp of
the 15th and 16th centuries. By 1600 it was certainly circulating
alongside the pseudo-Agrippa's FourthBook.39 Ultimately these
angelic sigils can be traced back to Medieval texts such as Liber
Jurtus and the ' Manual i AstrlMagic'.40 As an aside it may be
worth noting that the Liber Juratus seemingly refers to the sign
as being that of all the Venereal angels, rather than specifcally
belonging to Anael.
enil. J I =
Jag;n.
Fig. 2. The sigil and signs of the angel of Venus, from Turner's
translation of the Heptameron ( 1654 )41
The Seal of Venus also contains signs described by the
Mical Calndar as 'characters i the plnets'. These charcters have
their genesis in the art of Geomancy-a type of divination greatly
respected by the authorities we have been discussing, who
broadly considered it the 'sister' to, or terrestrial counterpart
of astrology42 This art involves the manipulation of 16 'fgures',
each composed of four lines of one or two dots-a system of
binary divination in many ways superfcially similar to the
!-Ching.
[XXXIV]
The .ti.,q
The characters of V
correspond to the Geo
are imprinted on the Sa
undoubtedly also ofGe
miscopied version of A
indicate the Geomantic -
character.43
'
I
.I
Amissio

i
l
Puella

Conjunctio
d

Fig. s.
and t

r.

.cr vel Tuba Vneris.

I
j by the ' uba Veneris contains a
t heptagon above, along with
l sg of Anael would have been
lmac throughout Europe. It
Heptameron, a text of ritual
'
_-scholar Peter d'Abano, but
no earlier than the cusp of
it was certainly circulating
For Book 59 Ultimately these
ledienl texts such as Liber
" Jfac' . . As a aside it may be
smingly refers to the sign
els rather than specifically
s signs described by the
pLet'. These characters have
_-a typ of divination greatly
haw been discussing, who
t. or terrestrial counterpart
manipulation of 16 'fgures',
e or two dots-a system of
superfcially similar to the
-
'
-
!
I
I
I
i
The Magic of the Tuba Vneris.
The characters of Venus shown in the Mical Calendar
correspond to the Geomantic signs of Puella and Amissio, and
are imprinted on the Seal of Venus, along with a third character
undoubtedly also ofGeomantic origin. This character may be a
miscopied version of Amissio, missing the upper dot, or it may
indicate the Geomantic sign of Conjunctio, which was usually
attributed to Mercury although the suggestion of a Venereal
quality is obvious from its name! However, the latter theory
seems doubtful at present: the lists of planetary characters from
Geomantic sources of which I am aware do not have any sigils
for Conjunctio that display this form. Additionally instances of
the character relating to Amissio being miscopied in such a way
are not unknown, for example The Key i Solomon preserved
in Lansdowne 1203 misses the dot above the main body of the
character.43
Amissio
Puella
Conjunctio












X
and
X
Y
and
t
Possibly X
Fig" 3" Geomantic signs relating to Venus
and their symbolic renderings.
[XXXV]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
The Geomantic signs also fnd their way into the sigils of
the six daemons, along with the other elements that make up
the Seal of Venus, such as the astrological symbols for Venus
and her related constellations Taurus and Libra. The key
elements in the daemonic sigils are here briefy tabulated:
Daemonic Sil
Mogarip
Amabosar
Alkyzub
Belzazel
Falkaroth
Mephgazub
Core Elements
Venus
Venus & ambiguous
Geomantic character
Amissio
Libra
Venus
Taurus and Venus
Fig 4. Core elements of the daemonic sigils.
Chthonic Powers and Steganographic Daemonology
While we are touching on the subject of the daemons it may
be useful to look more closely at their natures as indicated by
the text. There can be no doubt that these are not planetary
daemons, but rather are the inhabitants of the underworld
regions which the goddess fgure had such a deep connection in
her nocturnal and fertility aspects. Once more, the connection
is made clear from the initial verses, which mention an 'infrnal
dweller' being subjugated by the sound of the horn. The author
also refers to the magical doctrine that:
" ... the good angels have been placed over the evil spirits by God Thrice
Greatest and Best so that they should rule over them; on account of
which when something is commanded by a good Spirit to a bad one,
[XXXVI]
The 'Iagc,
exorcised by the inYoat
The ' uba Veneris conf
conjurations that acco
strings of what haYe
inscrutable formulae
once have been words i
of the familiar formula
conjurations. Perhaps .
mortals, or even compre.
in his preface-the tong\,
notorious for his work
-
the 'Enochian' languag
our author. The conj
language derived by si
simply be 'gibberish.
i
That is not to say ta
cal as well worn foreig
[
r rl Tuba Vneris.
tei way into the sigils of
oter elements that make up
ologcal symbols for Venus
Taurus and Libra. The key
. a here briefy tabulated:


Core Elnts

Yenus
Ys & abiguous
Gmantc character
.missio
Libra
Yen us
Taurus and Venus
1raphic Daemonology
et of the daemons it may
,, tei natures as indicated by
tat these are not planetary
bitants of the underworld
hd such a deep connection in
Once more, the connection
which mention an 'infrnal
Id of the horn. The author
that:
0-r the e\il spirits by God Thrice
d rule over them; on account of
by a good Spirit to a bad one,
The Magic ci the Tuba Vneris.
the former orders and calls the latter by means of his own capable
invocation, and this perhaps may be in a language not particular to us
mortals, or even comprehensible to us."
This interesting dualistic relationship between daemon
and angel goes back to the very roots of the grimoire
tradition, being found amongst the sources that make up the
ancient Testament of Solomon (first to third century AD). In
the Testament, the demons that spread disease can often be
exorcised by the invocation of their corresponding angel.
The Tuba Veneris confirms that these daemons are 'evil', and
although it assures the reader that the techniques for calling
them are safe unless abused, this does not seem like the kind
of magic that Dee, with his pious thirst for divine knowledge,
would have pursued.
One of the most enigmatic aspects of the text are the
conjurations that accompany the daemonic sigils. These are
strings of what have become known as 'barbarous' words
inscrutable formulae that may simply be nonsense or may
once have been words in foreign languages. There are none
of the familiar formulae of Judea-Christian magic in these
conjurations. Perhaps this is the 'language not particular to us
mortals, or even comprehensible to us,' which the author mentions
in his preface-the tongue of the spirits. Dee was, of course,
notorious for his work with angels and the codification of
the 'Enochian' language; perhaps this is being alluded to by
our author. The conjurations may otherwise be in a magical
language derived by similar visionary means ... or they may
simply be 'gibberish'.
That is not to say that 'gibberish' words cannot be as magi
cal as well worn foreign words or religious formulae. Aquinas
[XXXVII]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
discusses his belief that all the apparatus of magic, such as
signs, pentacles and words can only work through being beheld
by some intelligent entity. Which is to say that signs and words
have no inherent power, rather their meanings are agreed by
the parties involved, who act on them accordingly.44 If such
a position was considered then even the most obscure words
and signs may be considered compacts between the magician
and other entities.
There is, however, also the possibility that the conjurations
are a cipher-an example of Steganographia, or 'Hidden Writing',
an area in which Dee was also particularly interested, and the
study of which went in and out of vogue during the course of
the Renaissance.
There are some parallels that may be drawn between the
'uba Veneris and Trithemius' Steganographia-a work which
Dee went to great lengths to procure, succeeding in IS62.
Both works use invocations consisting of seemingly made-up
words. Also, the works give little indication of the particular
talents allocated to each spirit, instead speaking about them
in general terms. The 'uba Veneris tells us that the spirits are
useful in the following ways:
" ... for the finding of hidden treasures, for journeys, for Business, for
Navigation at sea, for war, and for similar things which the Spirits are
able to do for you and be of service to you."
Trithemius applies his Steganographic 'spirits' (or modes of
ciphering secret messages) to similar situations. For example:
a prince planning the overthrow a city uses Steganographic
methods in order to securely share his plans; a discoverer of
treasure wishes to notify trustworthy friends to help him
remove it so he sends a ciphered message, and so on.45
[XXXVIII]
1
The Jgc
I
However, attempts t
of both Trithemius'
the mysterious conjur
been unsuccessful.4 If l
cryptography then IIIS
by some kind of mechnica
An example of such a te
letters that creates prm
name (as detailed in the"
-
the names of astrological
or perhaps even something
by Dee and Kelly to uICIaN
It seems there is some
the 'uba Veneris. Thew'
four syllables, with certai
example, a signifcant n
have 'a' for their centa
'zoth'. It's tantalising to s
system behind these worl
remains obscure.
There is also a curious
syllables in each con jura
some further clue to the
Spir
Amab
eIzazH
^zub
!akam
egz

p
!ig+ 5. 5IIabk
=
vel Tuba Vneris.
aratus of magic, such as
lwork through being beheld
to say that signs and words
meanings are agreed by
tm accordingly44 If such
the most obscure words
ts between the magician
ilit that the conjurations
'hia or 'Hidden Writing',
arly interested, and the
v b drawn between the
uphia-a work which
. succeeding in 1562.
g of seemingly made-up
;iication of the particular
,
d speaking about them
, tlls us that the spirits are
'
for journeys, for Business, for
things which the Spirits are
J.-
phic 'spirits' (or modes of
situations. For example:
cit uses Steganographic
his plans; a discoverer of
y friends to help him
I

sage, and so on.45
The Magic of the Tuba Vneris.
However, attempts to apply the cryptographic techniques
of both Trithemius' Steganogrphia and his Polgrphia to
the mysterious conjurations in the 'uba Veneris have so far
been unsuccessfuP6 If the conjurations are not examples of
cryptography then it is possible that they may have been derived
by some kind of mechanical method for purely magical purposes.
An example of such a technique would be a table of words or
letters that creates permutations of a single magical word or
name (as detailed in the various Cabalistic tables for discovering
the names of astrological spirits in Agrippa' s Occult Philosohy),
or perhaps even something akin the complex letter squares used
by Dee and Kelly to dictate the Enochian language.47
It seems there is some kind of structure to the language of
the 'uba Veneris. The words used all have between two and
four syllables, with certain syllables occurring frequently. For
example, a significant number of words begin with;l' or 'Ham',
have 'a' for their central syllable or terminate with 'roth' or
'zoth'. It's tantalising to speculate that there must be some
system behind these words, although exactly how it works still
remains obscure.
There is also a curious relationship between the number of
syllables in each conjuration, tabulated here, which may provide
some further clue to the inner workings of the grimoire:
Spirit
Amabosar
Belzazel
Alkyzub
Falkaroth
ephgaub
Moganp
Syllble Count
41
42
44
45
46
47
Fig, 5. Syllabic count for each conjuration.
[XXXIX]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Possibly the above does indicate a numerological or
cryptographic mystery here to be solved-or perhaps these
words are indeed "not particular to us mortals".
Subsequent Infuence: The German 'radition
It seems likely that the Tuba Veneris was composed in
Germany, or at least enjoyed an enthusiastic reception there.
Not only do several of the extant manuscripts belong to
German institutions and have their provenance from German
collections, but there is also a group of grimoires that seem to
ultimately derive from the work.
These texts fall into what has become known as the
'Faustian' school of grimoire literature. Works of this genre are
generally characterised by an unforgiving bloody fxation upon
all things demonic. Although similarly bloodthirsty rituals are
found in earlier texts of Medieval magic, the Faust-books rose
to the level of popular and titillating literature in Germany
being especially prevalent throughout the 18th century.48 It
is no surprise that when a German version of Tuba Veneris
came into print for the frst time it was in late 18th century
Germany.49
Several German works relating to the Tuba Veneris can be
found in the great 19th century compilations of printed works
assembled by Horst and Scheible, along with other examples
in manuscript form. Both Scheible and Horst preserve several
works of interest attributed to Josef Anton Herpentil, variously
described as a philosopher or a Jesuit.
[XL]
Herpentil's 'di,ine
its method. The circle i
l
rel Tuba Vneris.
cate a numerological or
b solwd-or perhaps these
l u. morl".

Jneris was composed m
ethusiastic reception there.
t manuscripts belong to
prmenance from German
of grimoires that seem to
bcome known as the
_ \"orks of this genre are
- 'ing bloody fixation upon
ly blodthirsty rituals are
mc, the Faust-books rose
- g literature in Germany
out the 18th century.48 It
,-ersion of Tuba Veneris
to the Tuba Veneris can be
pilations of printed works
along with other examples
ad Horst preserve several
.-ton Herpentil, variously


I
'
The Magic of the Tuba Vneris.
The texts discussed here are difficult to date, especially
in relation to the Tuba Veneris, although one is naturally
suspicious the dates assigned to them by their printers and
copyists. Generally these dates fall within the frst half of the
sixteenth century but appear to be spurious. For example:
several Herpentil texts claim him as a Jesuit, although their
alleged dates of composition invariably fall before the 1534
formation of the Society of Jesus!50 The Handwrterbuch des
deutschen aberglaubens, an epic catalogue of Germanic lore,
contains an article by Jacoby that dates the works ofHerpentil
to end of the 17th century, or early 18th century.51
Amongst the literature attributed to Herpentil, it is the
In be grider Ubernatirlichen Magie that is of most interest. The
Inbegriseems to preserve more of the Tuba Veneris material
than any of the other grimoires that will be discussed here,
incorporating as it does all of the conjurations of the spirits
into its text.
The Inbegri details a ritual to conjure the three 'great
princes', namely: Almischak, Aschirika and Amabosar.52
Amabosar is, of course, one of pseudo-Dee's spirits, although
the derivation of the other two names is as yet obscure.
Herpentil's 'divine magic' owes a lot to the Tuba Veneris in
its method. The circle is similarly made from paper, although
in this instance the words are inscribed with the blood of a
white pigeon. The author also stresses the need to retire to an
undisturbed place where the conjuror will withdraw with his
circle and a wand inscribed with the seal of the spirit in weasel
blood. The planetary seal also occurs, but has been transformed
into the golden Seal of Jupiter, the names of whose angels are
[XLI]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
written upon it in the blood of a white dove. In keeping with
the ritual of pseudo-Dee, this seal must be laid upon any money
that the spirits bring to the operator and there is also mention
of applying heat to coerce obstinate spirits.
As previously mentioned, the conjurations of the Inbegf
incorporate all of those from the 'uba Veneris. They occur in
order, although they have been merged together to give one
conjuration for each prince:
Inbegri der Ubenatrlichen Magie
Almischak
Aschirika
Amabosar
Tuba Vneris
Mogarip, Amabosar, Alkyzub
Falkaroth, Belzazel
Mephgazub
Fig. 6. The spirits of Herpentil and their corresponding
conjurations in the Tuba Vneris.
While the dismissal of the spirit is also the same as in the
'uba Veneris, none of the subtleties that mark the author of
the 'uba Veneris out as a man of sensitivity and learning are
present in this or the other texts here mentioned. They are
generally, save for the introduction, workmanlike and lacking
in those elements that make the work of pseudo-Dee so unique.
Even their introductions, usually providing us with a fanciful
lineage for the art, with obligatory mentions of Egypt and the
Middle East, are poorly executed mystical cliches compared to
the Tuba Veneris and its pleasing attempts to pass itself off as the
work of Dee in addition to its powerful verse and imagery.
There is a related work that seems to draw on both the
Herpentil text discussed above and also the same author's
Liber Spirituum Potentis. The work in question is Compendium
[XLII]
The Jlag
Magae Innaturlis _y
Michael Scot and date
Two ofHerpentil"s s .
by Scot: Amabosar ad_
been corrupted to .
the sigils provided for ti
so are the conjurations

are similar: the magus .
(although of a white
decorated mitre and b

Spirituum Potentis.
J
Finally, there is a Ye
attributed to one Joh
an Augustinian Prior. '
also linked to Herpnt
of the circle, staff ad

with animal blood. T
although the entry for . _
Wellcome Institute da
"
five spirits dealt with i
familiar names: .\zab
(Mephgazub ).
!
Once again the
to he 'uba Veneris i .
retirement to an un
..
with the taboo on ta
compel the spirits.5"
Further connections
be drawn. Each text ha
white dow. In keeping with
must b lad upon any money
or and there is also mention
te spirits.
conjurations of the Inbegi.
:uba Teneris. They occur in
mrged together to give one
Tuba Vneris
!lop . . -mabosar, Alkyzub
Falkaroth, Belzazel
:lephgazub
' : tei corresponding
T l r mis.
- -
t i also the same as in the
that mak the author of
. snsiti,ity and learning are
here mentioned. They are
. workmanlike and lacking
k of pseudo-Dee so unique.
prOiding us with a fanciful
mentions of Egypt and the
mystca cliches compared to

mpts to pass itself off as the
.
erul wrse and imagery.
s ms to draw on both the
i question is Compendium
The Magic i the Tuba Vneris.
Miae Innaturalis Nigre, attributed to the famous alchemist
Michael Scot and dated 1255.53
Two ofHerpentil's spirits remain in the hierarchy discussed
by Scot: Amabosar and Almischack, although their names have
been corrupted to Almuchabosar and Almisch. Once again,
the sigils provided for the spirits are different and in this case
so are the conjurations. However, many aspects of the ritual
are similar: the magus carries the wand, inscribed with blood
(although of a white dove in this case), while an ornately
decorated mitre and belt have been borrowed from the Liber
Spirituum Potentis.
Finally, there is a very short work entitled Mia Ordinis,
attributed to one Johannes Kornreutheri (Johann Kornritter),
an Augustinian Prior. This work, like the Compendium, is
also linked to Herpentil's Liber Spirituum Potentis in its use
of the circle, staff and mitre-again liberally scrawled upon
with animal blood. The date of authorship is allegedly 1515,
although the entry for the manuscript version held by the
Wellcome Institute dates it to the early 18th century. 54 Of the
five spirits dealt with in Magia Ordinis, two have curiously
familiar names: Azabhsar (Amabosar) and Mebhazzubb
(Mephgazub ).
Once again the ritual has aspects that ultimately relate
to the 'uba Veneris, via Herpentil. The circle of paper and
retirement to an undisturbed place are key elements, along
with the taboo on talking during the ritual and use of heat to
compel the spirits.55
Further connections between the texts under discussion can
be drawn. Each text has a preface to the reader allegedly from
[XLIII]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
the pen of the pseudonymous author. Intriguingly, as with the
Tu0J t0tri, the work of pseudo-Scot addresses the readers
as mJlori0urli Jgi:Jt. All the texts make a connection
between the practice of magical conjuration and the occult arts
of the Middle East and furthermore, the Herpen til text perhaps
alludes to its primary source as the Tu0J t0triby describing
the magic under discussion as 'an English science'.
Since Amabosar is common to all of the works discussed
above, a comparison between the seals and conjurations of the
spirit is here provided:
Tuba Vneris
Amabosar! Amabosar!
Amabosar! Pharynthos
Egayroth Melustaton Castotis
Mugos Nachrim Amabosar!
Amabosar! Amabosar!
Inbegri der
Ubernat rlichen Magie
Samanthos Garanlim Algaphonteos
zapgaton chacfat Mergaym Hagai
Zerastam Aleas Satti lastarmiz
fiasgar loschemur karsila storichet
krosutokim Abidalla guscharak
melosopf56
[XLIV]
'
The "Iag
Compendium Ma
Innaturlis Nigrae
As noted above, the Q
indicates a possible Ge
Along with the lS'h cen
of the three manuscript
in Germany-the CniY
and the Bayerische St

l
'lbrough this examina

we may conclude that

type of magic advocate
studied the Thrtt
practical grimoire O ..
contained therein.
r tel Tuba Veneris.
r. Intiguingly, as with the
ot addresses the readers
t texts make a connection
uration and the occult arts
the Herpentil text perhaps
:uba reneris by describing
English science'.
a of the works discussed
Inbe
g
l der
l?trichen Magie


;
I
ll
'
-
tos Garanlim Algaphonteos
on chacfat ergaym Hagai
ta :leas Satti lastarmiz
loschemur karsila storichet
tokim Abidalla guscharak
melosopf.56
The Magic of the Tuba Vneris.
Compendium Magiae
Innaturlis Nigre
Asip Hecon Antiakarapasta
Kylimm Almuchabzar Alget
Zorionoso Amilek Amias
Segor Almutubele Halli
Merantantup Apalkapkor
Imat Avericha alenzoth Elgab
zai hazam Erasin Aresatos
Astarkarapata Rilimm 0
Almuchabzar Kilim.
Magia Ordini
Kederesgh wehrelet dachimetigh
Kebhdo Lafs deh Sewis nelim
kigim tischengina denur
Bauwordas menigh nibhind
munedh maminegh Terowogh
Konwad derli gentegh
Kaswondh.
Fig.7. Comparison of the seals and invocations of Amabosar.
As noted above, the presence of these spirits in these documents
indicates a possible German provenance for the Tuba Veneris.
Along with the 18th century German edition of the text, two
of the three manuscripts of the Tuba Veneris belong to libraries
in Germany-the Universitatsbibliothek Erlangen-Nirnberg
and the Bayerische Staatsbibliothek.
Conclusion
Through this examination of the sources of the Tuba Veneris
we may conclude that the author was a keen student of the
type of magic advocated by Agrippa, and that he had diligently
studied the Three Books i Occult Philosophy, constructing a
practical grimoire from the theoretical discussions of magic
contained therein. The work, with its Classical allusions
[xLv]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
and Neoplatonic and Pythagorean bias represents the apex
of the grimoire genre, certainly in terms of the artistry and
historical awareness of the author. The attempts at Sapphic
verse, regardless of prosodic errors, also indicate an affinity
with the Classical world and the workings of a sensitive and
poetic mind, especially when compared to the unsophisticated
conjurations found in most grimoires of the period.
However, it appears that this style of grimoire was an
evolutionary dead-end. The works that were derivative
of it lacked any of the charm and awareness that make it
such an intriguing and enigmatic text. Instead the German
grimoire-makers dragged the ritual through new and bloodier
underworlds, hauling the spirits from their pagan Hades into
a very Christian Hell. By the time Scheible published his epic
Doctor Johann Faust's Maga N aturlis et Innaturlis even Anael,
'great prince of Heaven', had been assimilated into the infernal
hordes of Faustian magic.58 The Faustian author describes
him as the "fth lord of Hell and under the power i the angel
Haniel," while the accompanying plate depicts the fallen one
as a hunch-backed, red-eyed, ape like demon in fine clothes.
From the trousers of these protrudes a conspicuously erect tail
as he tugs on the cloak of a woman walking in front of him.
Of course, like other classically inclined authors of the time,
the author was well aware that he is living in the Christian
era, and the pagan goddess is redefined as a planetary image of
Venus, in line with the prevalent cosmological and astrological
doctrines of the period. I conclude that the author was a
Christian who saw nothing wrong with using knowledge that,
since it originated from respected 'virtuous pagan' authors,
[XLVI]
The 1Iagc
could be seen as being o
The piety of the au
question by his designat
Art' or 'N egromancy'. He
art, namely: 'Magic, K
suggest that this indicate
art of magic is divided. F'
also encompasses astrol
the magical theology of
he intends to indicate al
of spirits. To this end he
text dealing with stygia
,
work of magic that can b;
this world or perdition i
base works of magic that
rightly proscribed by t
categorisation in the la
example, refers to his a
is a divine and holy sci
such magic is 'black' i
conjurations of subterr
operates through the ad o
as the angel Anael.
From the infuence on
Scot, all German publi
distribution of extant 1
speculated that the auth
have had an awareness oft
by the Palatinate house o
[
vel Tuba Vneris.
bias represents the apex
r i terms of the artistry and
l The attempts at Sapphic
j also indicate an affinity
wrkings of a sensitive and
e to the unsophisticated
of the period.
style of grimoire was an
rks that were derivative
awareness that make it
text. Instead the German
through new and bloodier
their pagan Hades into
. Sheible published his epic
a conspicuously erect tail
walking in front of him.
lined authors of the time,
is lYg in the Christian

e as a planetary image of
ological and astrological
e that the author was a
wt using knowledge that,
,irtuous pagan' authors,
I

!
The Magic of the Tuba Vneris.
could be seen as being compatible with Christian doctrines.
The piety of the author, however, may be called into
question by his designation of the text as a work of the 'Black
Art' or 'Negromancy'. He mentions three divisions of magical
art, namely: 'Magic, Kabbala, and Negromancy'. I would
suggest that this indicates the main streams into which the
art of magic is divided. First there is the natural magic, which
also encompasses astrological and talismanic works. Second is
the magical theology of Kabbala. Therefore by 'negromancy'
he intends to indicate al magic that involves the conjuration
of spirits. To this end he makes it clear that in spite of the
text dealing with stygian daemons, he is presenting a true
work of magic that can be practiced without risking ruin in
this world or perdition in the next. This is as opposed to the
base works of magic that lead men into diabolic pacts and are
rightly proscribed by the church. We also find this curious
categorisation in the later German works. Herpentil, for
example, refers to his art as 'Black Magic,' but insists that it
is a divine and holy science.59 Perhaps the implication is that
such magic is 'black' in so far as it relates to the nocturnal
conjurations of subterranean daemons, and yet 'holy' in that it
operates through the aid of divine and celestial agencies, such
as the angel Anael.
From the infuence on the Herpentil, Kornritter and pseudo
Scot, all German publications, along with the geographical
distribution of extant Tuba Vneris manuscripts, it may be
speculated that the author was based in Germany and may
have had an awareness of the Hermetic works being published
by the Palatinate house of Theodorus de Bry, or at least had
[XLVII]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
access to one of the sources used for the Magical Calendar. This
would place the composition of the 'uba Veneris to circa 1620,
that is, after De Brys publication of Grosschedel' s Mcal
Calendar. It is this work that contains the seven planetary
seals the provenance of which are otherwise-at the time of
writing-obscure.
Regardless of the exact location of the author in time and
space the 'uba Veneris provides us with a perfect example of
how the theoretical elements of Renaissance magic, such as
those discussed in Agrippa's treatise, may have been put into
practice by an enterprising magician. Despite being a work
of considerable brevity I know of no other ritual magic text
that employs the systems of occult philosophy and planetary
correspondence that fowered in the wake of Agrippa so
methodically and thoughtfully. On a practical level it is as if the
author has provided us with a template or textbook example
after which we may also compose our own planetary rituals: the
Scythe of Saturn and Sceptre of the Phoebus almost demand
such an interpretation.
In conclusion, the 'uba Veneris is truly a gift to all the lovers
of the magical art.
[XLVIII]
Philip Legard
March 31, 2010
Leeds, United Kingdom
Abognazar. The Vriahll
Esoteric Archives, 2001.
l1203.htm
Agrippa von Nettesheim. H
by JF Edited by Donald
1998.
John Harrison, 1655.
Apuleius, Lucius. The uota.
by Martin Guy. Ames, Iowa
fction/ apuleius/
1
Aquinas, Thomas. Contru G
New York: Hanover Hous

CDtexts/ContraGentilsht
Aristotle. Meta
p
hysics. Tr
1924. http:/ I classics.mit-e
!
r r.el Tuba Vneris.
the Jal Calendar. This
: uba Vener to circa 1620,
of Grosschedel's Magical
tains the seven planetary
otherwise-at the time of
of the author in time and
"ith a perfect example of
Rnaissance magic, such as
- may have been put into
-u1. Despite being a work
no other ritual magic text
philosophy and planetary
the wake of Agrippa so
a practcal level it is as if the
plate or textbook example
O\n planetary rituals: the
Phobus almost demand
- tuly a gift to all the lovers
Philip Legard
March 31, 2010
Leeds, United Kingdom
[XLIX]
Bibliography
Abognazar. The Veritable Clavicles i Solomon. Edited by Joseph Peterson.
Esoteric Archives, 2001. http:/ /www.esotericarchives.com/solomon/
l1203.htm
Agrippa von Nettesheim, H. C. Three Books i Occult Philosophy. Translated
by JF Edited by Donald Tyson. St. Paul, Minn: Llewellyn Publications,
1998.
-.Fourth Book i Occult Philosophy. Translated by Robert Turner. London:
John Harrison, 1655.
Apuleius, Lucius. The Golden Ass. Translated by William Adlington. Edited
by Martin Guy. Ames, Iowa: Eserver.org, 1996. http:/ /books.eserver.org/
fiction/ apuleius/
Aquinas, Thomas. Contr Gentiles, Book II Translated by Vernon J Bourke.
New York: Hanover House, 1957. http:! /www. josephkenny.joyeurs.com/
CDtexts/ContraGentiles.htm
Aristotle. Metaphysics. Translated by WD. Ross. Oxford: Clarendon Press,
1924. http:/ I classics.mit.edu/ Aristotle/metaphysics.1.i.html
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Betz, Hans Dieter, ed. The Greek Magical Papyri in Trnslation: Including the
Demiotic Spells. London: University of Chicago Press, 1996.
Bruno, Giordano. "De Imaginum Compositione, Liber I," in Jordani Bruni
Nolani Oper Latine Conscripta, Vl II, Part III. Edited by F Tocco and H.
Vitelli. Florence: Le Monnier, 1889. http:/ /www.archive.org/stream/
j ordanibruninol05brungoog
Burns, Terri. "The Little Book of Black Venus and the Three-Fold
Transformation of Hermetic Astrology." Journal i the Wstern Mystery
Tradition 12, 2007. http:/ /www.jwmt.org/v2nl2/dee_hermetic.html
Calder, I.R.F "John Dee Studied as an English Neo-Platonist." PhD
dissertation, London: The Warburg Institute, London University, 1952.
http:/ /www.johndee.org/ calder /html/TOC.html
Cattan, Christopher. The Geomancie i Maister Christopher Cattan. Translated
out i French into our English tongue. London: John Wolfe, 1591.
Dee, John. Mathematicall Priface to the Elements i Geometrie i Euclid i
Megar. Translated by H. Billingsley. Whitefish, Montana: Kessinger
Publishing, n.d.
- A Letter Containing a most brii Discourse Apologeticall. Edited by
Joseph Peterson. Esoteric Archives, 1999a. http:/ /www.esotericarchives.
com/ dee/ aletter.htm
-. Tuba Veneris. Edited by Joseph Peterson. Esoteric Archives, 1999b.
http:/ /www.esotericarchives.com/ dee/tubaven.htm
Foxe, John. Actes and Monuments i these latter and perilous dayes touching
matters i the Church. London: John Day, 1563.
French, Peter. John Dee: The World of an Elizabethan Magus. London:
Routledge, 1984.
[L]
The Jlag
Horst, George Conrad.
Kupserbert, 1821.
Klutstein, Iliana. Varsilio F:
Hymnes Orphiques, Hymnu d
Kornritter, Johannes. Jf<g
http:/ /www.larkfall.co.uk
Mathers, Samuel Liddell :I
by Joseph Peterson. Esoter
solomon/ksol.htm
Alchemy Website, 1995. h
I
Meyer, Marvin and Smith
Ritual Power. Princeton. Xe
Nauman
_
n, Robert. "Ein
TO. We1gel, 1844.
,j
l
Pausanias. Description
Ormerod. London, \Yilliam
Peterson, Joseph, ed. Th
n.d. http:/ /www.esoteri
f vel Tuba Vneris.
IOODC, Liber I," in Jordani Bruni
.: 1 Edited by 1 Tocco and H.
lt: www.archive.org/ stream/
d0vOu i the Western Mystery
VJD12/ dee_hermetic.html
English Xeo-Platonist." PhD
rure. London University, 1952.
ii . .D
Chrither Cattan. Translted
D: JODD \Volfe, 1591.
2I5 i Geometrie i Euclid i
\nitefsh, :ontana: Kessinger
10vOrApologeticall. Edited by
Dttp:! /www.esotericarchives.
D. Esoteric Archives, 1999b.
tubawn.htm


I
!
'
!
Lter and perilous dayes touching
1d.
The Magic of the Tuba Vneris.
Guthrie, Kenneth. The Pythagorean Sourcebook and Librry. Grand Rapids,
Missouri: Phanes Press, 1987.
Horst, George Conrad. Zauber-Bibliothek, Vols. I p II. Mainz: Florian
Kupserbert, 1821.
Kieckhefer, Richard. Forbidden Rites: A Necromancer' Manual i the Fieenth
Century. Gloucestershire: Sutton Publishing, 1997.
Klutstein, IlIana. rsiho Ficino et la Theoloie Ancienne: Oracles Chalaiques,
Hymnes Orphiques, Hymnes de Proclus. Florence: Olschki, 1987.
Kornritter, Johannes. Magia Ordinis. Translated by Phil Legard. 2007.
http:/ /www.larkfall.co.uk/blog/magia-ordinis.pdf
Mathers, Samuel Liddell MacGregor. The Key i Solomon the King Revised
by Joseph Peterson. Esoteric Archives, 2005. http:! /esotericarchives.com/
solomon/ksol.htm
McLean, Adam. The Mcal Calendar. Grand Rapids, Missouri: Phanes
Press, 1994.
-. "Database of Alchemical Manuscripts - Wellcome Institute. " The
Alchemy Website, 1995. http:! /www.levity.com/alchemy/almss8.html
Meyer, Marvin and Smith, Richard. Ancient Christian Mic: Coptic Texts i
Ritual Power. Princeton, New Jersey: Princeton University Press, 1999.
Naumann, Robert. "Ein Hollenzwang von 1555." Serpeum V5. Leipzig,
TO. Weigel, 1844.
Pausanias. Descrition i Greece. Translated by WH.S. Jones and H.A.
Ormerod. London, William Heinemann Ltd, 1918.
Peterson, Joseph, ed. The Mical Calendar (excerpts). Esoteric Archives,
n.d. http:/ /www.esotericarchives.com/mc/index.html
[u]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
-. E-mail message to the author, November 2007.
Scheible, Johann. Das Kloster III. Stuttgart: Verlag des Herausgebers,
I846.
-. Doctor Johann Faust's Mia Natur/is et Innaturlis, II. Stuttgart:
Verlag von J Scheible, I849.
Taylor, Thomas. The Hymns i Orpheus. London: T Taylor, I792.
Thomas, Keith. Reliion and the Decline i Magic. London: Weidenfield and
Nicolson, I97I.
Trithemius, Johannes. Steganographia. Translated by Christopher
Upton, edited by Adam McLean. Edinburgh: Magnum Opus Hermetic
Sourceworks, I982.
-. PolgraphiaLibri Sex. Cologne: Ioannem Birckmannum & Wernerum
Richwinum, I564.
Walker, D.P Spiritual and Demonic Magic .om Ficino to Campanella. Surrey
Great Britain: Sutton Publishing Ltd, 2000.
Yates, Frances. The Rosicrucian Enlightenment. London: Routledge Classics,
2001.
[ LII]
I The chief manuscripts
Institute. Warburg :Is.
Erlangen-Ntirnberg. :Is.
let. 27005. (Peterson I999.
2 In this regard see also
summation of J org :I.
3 Foxe (I563), p.IH5.
4 Dee I570.
5 Dee I599.
6 Calder (I952), chapter X'
7 An alternatiYe hypth
seeking to connect Dee nid
Although it would seem
such a way would create
8 See Betz (I996), :!eyer
9 For example: The H
Fourth Book of Agrippa.
IO For Dee and treasure
general account of the
(I97I), pp.234-7.
'
II
_
For Agrippa' s set of pla
xhv. ,
rel Tuba Vneris.
r201.
t Yerlag des Herausgebers,

!
tl Innaturalis, II. Stuttgart:
i

Ldon: T Taylor, 1 792.
Lndono we;dcnfidd nd
Translated by Christopher
: lagnum Opus Hermetic
Birckmannum & Wernerum
Fino t Cam
p
anella. Surrey
Lndon: Routledge Classics,
[ LIII ]
End Notes
1 The chief manuscripts in question being: London, the Warburg
Institute. Warburg Ms. FBH 510; Erlangen, Universitatsbibliothek
Erlangen-Ntirnberg. Ms. 854; Mtinchen, Bayerische Staatsbibliothek, Cod.
let. 27005. (Peterson 1999, Burns 2007)
2 In this regard see also Michael A. Putman's introductory notes for a
summation of 1 org M. Maier's conclusions about the work.
S Foxe (1563), p.1445.
4 Dee 1570.
5 Dee 1599.
6 Calder (1952), chapter X.
7
An alternative hypothesis is that it could be written by a detractor
seeking to connect Dee with diabolic arts in the mind of his readers.
Although it would seem unlikely that someone seeking to defame Dee in
such a way would create such a complex work.
8
See Betz (1996), Meyer and Smith (1999).
9 For example: The He
p
tameron, attributed to Peter d'Abano and the
Fourth Book of Agrippa.
10 For Dee and treasure hunting, see Chalder (1952), chapter IX. For a
general account of the treasure hunting mania in England, see Thomas
(1971), pp.2S4-7.
11 For Agrippa' s set of planetary images, see Agrippa ( 1651) II.xxxvii
xliv.
Libellus Vneri Nigro Sacer vel Tuba Vneris.
12 Agrippa ( 1651 ), II.xlii.
13 For an example of this in translation see Taylor (1792), Hymn 55.
The sixteenth century Latin translation in Klutstein (1987) renders the
epithet in question as amatrix nocturnarum viliarum-lover of the nocturnal
watches.
14 Pausanias, 8.6.5
15 Apuleius, XI.47
16 Ibid.
1 7 Regarding the particulars of his initiation, Lucius writes: "I approached
neere unto Hell, even to the gates of Proserpina, and after that, I was
ravished throughout all the Element, I returned to my proper place:
About midnight I saw the Sun shine, I saw likewise the gods celestiall and
gods infernall, before whom I presented my selfe, and worshipped them:"
Apuleius, XI.48.
18 Apuleius, XI.47
19 For an overview of Ficino and Orphic singing, see Walker (1958),
chapter I, and also the more recent work of Angela Voss.
20 For an account of this, see Hesiod, Theogony, lines 185-195. Note
also the previous quotation from Apuleius- "The Cyprians [call me] Vnus."
(Apuleius, XI.47)
21 Compare with the conjurations and orations in Mathers ( 1889), for
instance.
22 Agrippa (1651), II.xxi.
23 Aristotle, Metaphysics, part v.
24 For Theon of Smyrna's How Many Tetrkts are There? see Guthrie
(1987).
25 This Mical Calendar was engraved by the studio of Theodorus de
Bry, probably by the hand of Mathieu Merian. It has been suggested that
De Bry may have had links with a Christian mystical sect called the Family
of Love, and may also have had an association with Dee.
26 See Yates (1972), chapter VI.
27 For a description of the talismans see Turner ( 1654) p.49, and for their
use in conjunction with the Liber Spirituum, ibid. pp.57-8.
28 Concerning the Liber Spirituum, Mathers ( 1889) writes: "Thou
shouldest further make a book of virgin paper, and therein write the
foregoing conjurations, and constrain the demons to swear upon the same
book that they will come whenever they be called, and present themselves
[ LIV]
The "!ag
before thee, whenever thou
canst cover this book with
write or engrave the holy
on Sundays or on Thursdays
will come."
29 Xieckhcfec
(199>
),
PI'
30 Agrippa ( 1651 ), I.xh-.

31 Hesiod, Theogony, lines I .
32 Taylor ( 1792)

33 Mathers (1889), Ilsii.
1
34 Bruno(1591),Xlll.

35 McLean (1994). pp.S5-
36 Agrippa ( 1651 ), II.x.
the planet relates to the 0
by white doves.
37 I speculate that it was
manuscript used to colour t
of the seal and horn of Yenu
working with parchment i
38 McLean (1994), pp. 6--.
39 Based on the dismissal o

Weyer in 1563 it had pres
for more than thirty years by
40 For the Manual q.lstr.
41 Turner ( 1654 ), p.99.
42 For example, Cattan: 1.(

geomancy composed in 1558
'daughter' to astrology.
43 See the section entitle
Helpfully this also shows a
44 Aquinas (1264), 3.105
45 Examples from Trithe
46 Trithemius (1564). bo
for ciphering messages i
was used in the construction ai
47 Agrippa ( 1651 ), III. X j
48 See Kieckhefer (1997 fe
t
rel Tuba Vneris.
s Taylor (1792), Hymn 55.
i Kutstein (1987) renders the
vlirum-lover of the nocturnal
n. Lucius writes: "I approached
Prpina, and after that, I was
. I returned to my proper place:
likewise the gods celestiall and
my sl, and worshipped them:"
singing, see Walker (1958),
of .-ngela Voss.
Thny. lines 185-195. Note
The c,prians [call me] Vnus."
Tmakt are There? see Guthrie
bv the studio of Theodorus de
a. It has been suggested that
mystical sect called the Family
on with Dee.
Turner (1654) p.49, and for their
ibzd. pp.57-8.
lathers ( 1889) writes: "Thou

paper, and therein write the

f demons to swear upon the same
b called, and present themselves

-
The Magic o the Tuba Vneris.
before thee, whenever thou shalt wish to consult them. Afterwards thou
canst cover this book with sacred sigils on a plate of silver, and therein
write or engrave the holy pentacles. Thou mayest open this book either
on Sundays or on Thursdays, rather at night than by day, and the spirits
will come."
29 Kieckhefer (1997), pp. 8-10.
30 Agrippa ( 1651 ), I.xlviii.
31 Hesiod, Theogony, lines 185-195.
32 Taylor ( 1792)
33 Mathers (1889), II.vii.
34 Bruno ( 1591 ), XIII.
35 McLean (1994), pp.34-5.
36 Agrippa ( 1651 ), II.x. Presumably the association of the dove with
the planet relates to the Classical notion that Venus' chariot was drawn
by white doves.
37 I speculate that it was such an ink that the author of the Warburg
manuscript used to colour the title page and also to shade the illustrations
of the seal and horn of Venus. Given the caustic nature of the solution,
working with parchment instead of paper would be a necessity.
38 McLean (1994), pp. 62-74.
39 Based on the dismissal of the Fourth Book as a forgery by Agrippa' s pupil
Weyer in 1563 it had presumably been already circulating in manuscript
for more than thirty years by 1600.
40 For the Manual q Astral Magic, see Kieckhefer, 1997
41 Turner (1654), p.99.
42 For example, Cattan ( 1591 ), a comprehensive and infuential tract on
geomancy composed in 1558 that describes the art as variously 'sister' and
'daughter' to astrology.
43 See the section entitled 'Caracteres de Venus' in Peterson (n.d.).
Helpfully this also shows a comparison with the de Bry sigils.
44 Aquinas (1264), 3.105
45 Examples from Trithemius (n.d.), chapters V and XI.
46 Trithemius ( 1564 ), books III and IV provide substantial code books in
for ciphering messages in 'barbarous language'. Perhaps such a code book
was used in the construction of the Tuba Vneris' language.
47 Agrippa ( 1651 ), III. Xxvii.
48
See Kieckhefer (1997) for an example of a Medieval work that has
Libellus Vneri Nigro Sacer vel Tuba Vneris.
similar demonic and bloodthirsty fascinations. However, even the more
benign and professedly 'holy' rites were not above using animal brains and
so forth in their preparations, for example the copious use of bird brains
in the incense recipes of Liber Jurtus.
49 Veneris nigro sacer Autoris John Dee 1 794. Aus dem Lateinischen
in deutscher Obersetzung. Formeln und Sigille zur Anrufung von
Venusintelligenzen fir Liebeszauber und Erfolgsmagie.
50 See for example Herpentil's Schwarze Magie, dated 1505, in Horst ( 1821 ),
volume I.
51 Peterson (2007)
52 Schieble ( 1846), pp.626-633.
53 The Scot Compendium was published inN eumann ( 1855). The original
pamphlet that Neumann used for his edition claims a publication date of
1555. Liber Spirituum Potentis is reprinted in Horst ( 1821 ), volume II under
the title Herpentilis' Schwarze Magie, although a more complete version is
preserved in manuscript held by the Herzogin Anna Amalia Bibliothek.
For the Compendium itself, see Naumann (1855).
54 McLean, 1995.
55 For a translation and notes on this text, see Legard (2007).
56 Note the incorporation of the astrological sign of Venus into the
seal in a similar manner to those to the Tuba Veneris. Also compare the
frst half of the conjuration with that of Mephgazub in the Tuba Veneris:
Samanthros Jaramtin Algaphonteos Zapgaton Osachfat Mergaim Hugal
Zerastan Alcasatti.
57 Taken from an electronic copy of Magia Ordinis-unkown
provenance (probably from FW Lehmberg (ed.) CEREMONIAL-MAGIE I: 22
Hauptwerke mittelalterlicher Magie).
58 Scheible (1849), pp. 87-90
59 Scheible ( 1846), p.627
[LVI J
vel Tuba Vneris.
ns. HoweYer, even the more
Vusing animal brains and
OC copious use of bird brains
I9+. . -us dem Lateinischen
. Sigille zur Anrufung von
Elgsmagie.
dated 1505, in Horst ( 1821 ),
ic
l
'eumann ( 1855 ). The original
claims a publication date of
- Hort ( 1821 ), volume under
a more complete version is
_-nna Amalia Bibliothek.
s Legard (2007).
sign of Venus into the
mrH. Also compare the
gzub in the Jh00 00crl5.
on Osachfat Mergaim Hugal
THE LIFE
L1 1LLLH JL1^ 111
Charles Macka
y
[LVII]
The Li r Doctor John Dee
OHN Dee and Edward Kelly claim to be mentioned
together, having been so long associated in the
same pursuits, and undergone so many strange
vicissitudes in each other's society. Dee was
altogether a wonderful man, and had he lived
in an age when folly and superstition were less rife, he would,
with the same powers which he enjoyed, have left behind him
a bright and enduring reputation. He was born in London, in
the year 1527, and very early manifested a love for study At
the age of fifteen he was sent to Cambridge, and delighted so
much in his books, that he passed regularly eighteen hours
every day among them. Of the other six, he devoted four
to sleep and two for refreshment. Such intense application
did not injure his health, and could not fail to make him one
of the frst scholars of his time. Unfortunately however, he
quitted the mathematics and the pursuits of true philosophy to
Libellus Vneri Nigro Sacer vel Tuba Vneris.
indulge in the unprofitable reveries of the occult sciences. He
studied alchymy, astrology and magic, and thereby rendered
himself obnoxious to the authorities at Cambridge. To avoid
persecution, he was at last obliged to retire to the university of
Lou vain; the rumours of sorcery that were current respecting
him rendering his longer stay in England not altogether
without danger. He found at Louvain many kindred spirits
who had known Cornelius Agrippa while he resided among
them, and by whom he was constantly entertained with the
wondrous deeds of that great master of the hermetic mysteries.
From their conversation he received much encouragement to
continue the search for the philosopher's stone, which soon
began to occupy nearly all his thoughts.
He did not long remain on the Continent, but returned to
England in 1551, being at that time in the twenty-fourth year
of his age. By the infuence of his friend, Sir John Cheek, he was
kindly received at the court of King Edward VI, and rewarded
(it is diffcult to say for what) with a pension of one hundred
crowns. He continued for several years to practise in London as
an astrologer; casting nativities, telling fortunes, and pointing
out lucky and unlucky days. During the reign of Queen Mary
he got into trouble, being suspected of heresy and charged with
attempting Mary's life by means of enchantments. He was tried
for the latter ofence, and acquitted; but was retained in prison
on the former charge, and left to the tender mercies of Bishop
Bonner. He had a very narrow escape from being burned in
Smithfeld, but he, somehow or other, contrived to persuade
that ferce bigot that his orthodoxy was unimpeachable, and
was set at liberty in 1555.
[LVIII]
The Li
On the accession of
him. During her retire
to have consulted him a
Circumstance, no doubt,
which he was brought to
more openly as to the f
Dudley, the celebrated
of the Queen herself to
coronation. So great wa
years aferwards, Eliz
at his house in Mortl
and, when he was ill.
him.
Astrology was the
to practise it with great
The philosopher's stone
thoughts and his nigh
which he had also de
belief, that he might hold
learn from them all the
same idea as the then
whom he had perhaps
he imagined that, by m
summon these kindlY s
brooding upon the su
that he at last persuad
him, and promised to b.
he lived. He relates ta
he was engaged in fen
vel Tuba Vneris.
of the occult sciences. He
c, and thereby rendered
sat Cambridge. To avoid
t retire to the university of
tat were current respecting
'" i England not altogether
-a many kindred spirits
while he resided among
tv entertained with the
of the hermetic mysteries.
much encouragement to
pher' s stone, which soon
ht.
Continent, but returned to
i the twenty-fourth year
d. Si John Cheek, he was
a pnsion of one hundred
s to practise in London as
g fortunes, and pointing
the reign of Queen Mary
ofheresy and charged with
echantments. He was tried
but was retained in prison
,,t tender mercies of Bishop
. ap fom being burned in
ber contrived to persuade
y was unimpeachable, and
The Lie of Doctor John Dee.
On the accession of Elizabeth, a brighter day dawned upon
him. During her retirement at Woodstock, her servants appear
to have consulted him as to the time of Mary's death, which
Circumstance, no doubt, frst gave rise to the serious charge for
which he was brought to trial. They now came to consult him
more openly as to the fortunes of their mistress; and Robert
Dudley, the celebrated Earl of Leicester, was sent by command
of the Queen herself to know the most auspicious day for her
coronation. So great was the favour he enjoyed that, some
years afterwards, Elizabeth condescended to pay him a visit
at his house in Mortlake, to view his museum of curiosities,
and, when he was ill, sent her own physician to attend upon
him.
Astrology was the means whereby he lived, and he continued
to practise it with great assiduity; but his heart was in alchymy.
The philosopher's stone and the elixir of life haunted his daily
thoughts and his nightly dreams. The Talmudic mysteries,
which he had also deeply studied, impressed him with the
belief that he might hold converse with spirits and angels, and
learn from them all the mysteries of the universe. Holding the
same idea as the then obscure sect of the Rosicrucians, some of
whom he had perhaps encountered in his travels in Germany
he imagined that, by means of the philosopher's stone, he could
summon these kindly spirits at his will. By dint of continually
brooding upon the subject, his imagination became so diseased,
that he at last persuaded himself that an angel appeared to
him, and promised to be his friend and companion as long as
he lived. He relates that, one day in November 1582, while
he was engaged in fervent prayer, the window of his museum
[ LIX J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
looking towards the west suddenly glowed with a dazzling
light, in the midst of which, in all his glory stood the great
angel Uriel. Awe and wonder rendered him speechless; but
the angel smiling graciously upon him, gave him a crystal,
of a convex form, and told him that, whenever he wished to
hold converse with the beings of another sphere, he had only
to gaze intently upon it, and they would appear in the crystal
and unveil to him all the secrets of futurity.* This saying, the
angel disappeared. Dee found from experience of the crystal
that it was necessary that all the faculties of the soul should be
concentrated upon it, otherwise the spirits did not appear. He
also found that he could never recollect the conversations he
had with the angels. He therefore determined to communicate
the secret to another person, who might converse with the
spirits while he (Dee) sat in another part of the room, and took
down in writing the revelations which they made.
He had at this time in his service, as his assistant, one
Edward Kelly, who, like himself, was crazy upon the subject
of the philosopher's stone. There was this difference, however,
between them, that, while Dee was more of an enthusiast than
an impostor, Kelly was more of an impostor than an enthusiast.
*The "crystal" alluded to appears to have been a black stone, or piece
of polished coal. The following account of it is given in the Supplement to
Granger's Biogrphical History. "The black stone into which Dee used to call
his spirits was in the collection of the Earls of Peterborough, from whence
it came to Lady Elizabeth Germaine. It was next the property of the late
Duke of Argyle, and is now Mr. Walpole's. It appears upon examination
to be nothing more than a polished piece of cannel coal; but this is what
Butler means when he says,
'Kelly did all his feats upon
The devil' s looking-glass-a stone."'
[Lx]
The Lit
In early life he was a
both his ears for forge
in any man, was destr .
lest his wisdom should
black skull-cap, which.
over both his cheeks. no
a very solemn and or
his secret, that e\en
appears never to ha\e
was just the man to c
advantage, or to nur
same purpose. No so
had received from the
He set about consul
'nd of December 1581,
extraordinary discou
writing. The curious
among the Harleian .
consultations were pu
Meric Casaubon, under
i what passed between
it succeeded, to a generl
.
the Word.*
* Lilly the astrologer. i
of prophecies deliYered by
Dr. Dee. He says, "The p
but by inspection of the
circular way; where, at s
forms, shapes, and creatur
vel Tuba Veneris.
glowed with a dazzling
his glory stood the great
ered him speechless; but
him, gave him a crystal,
whenever he wished to
ther sphere, he had only
wuld appear in the crystal
fturity* This saying, the
exprience of the crystal
tes of the soul should be
spirits did not appear. He
et the conversations he
rce. as his assistant, one
crazy upon the subject
this difference, however,
more of an enthusiast than
le been a black stone, or piece
it is gwn in the Supplement to
sone into which Dee used to call
o Peterborough, from whence
next the property of the late
s It appears upon examination
of cannel coal; but this is what

-
-
-

I
i
I
;
The Lie of Doctor John Dee.
In early life he was a notary, and had the misfortune to lose
both his ears for forgery. This mutilation, degrading enough
in any man, was destructive to a philosopher; Kelly, therefore,
lest his wisdom should suffer in the world's opinion, wore a
black skull-cap, which, ftting close to his head, and descending
over both his cheeks, not only concealed his loss, but gave him
a very solemn and oracular appearance. So well did he keep
his secret, that even Dee, with whom he lived so many years,
appears never to have discovered it. Kelly with this character,
was just the man to carry on any piece of roguery for his own
advantage, or to nurture the delusions of his master for the
same purpose. No sooner did Dee inform him of the visit he
had received from the glorious Uriel, than Kelly expressed
such a fervour of belief that Dee's heart glowed with delight.
He set about consulting his crystal forthwith, and on the
2nd of December 1581, the spirits appeared, and held a very
extraordinary discourse with Kelly which Dee took down in
writing. The curious reader may see this farrago of nonsense
among the Harleian MSS. in the British Museum. The later
consultations were published in a folio volume, in 1659, by Dr.
Meric Casaubon, under the title of A True and Faithul Relation
i what passed between Dr. John Dee and some Spirits; tending, had
it succeeded, to a general Alteration i most States and Kingdoms in
the World."
* Lilly the astrologer, in his Life written by himself, frequently tells
of prophecies delivered by the angels in a manner similar to the angels of
Dr. Dee. He says, "The prophecies were not given vocally by the angels,
but by inspection of the crystal in types and figures, or by apparition the
circular way; where, at some distance, the angels appear, representing by
forms, shapes, and creatures what is demanded. It is very rare, yea, even
[LXI]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
The fame of these wondrous colloquies soon spread over
the country and even reached the Continent. Dee, at the same
time, pretended to be in possession of the elixir vitae, which he
stated he had found among the ruins of Glastonbury Abbey,
in Somersetshire. People flocked from far and near to his
house at Mortlake to have their nativities cast, in preference
to visiting astrologers of less renown. They also longed to see
a man who, according to his own account, would never die.
Altogether, he carried on a very profitable trade, but spent so
much in drugs and metals to work out some peculiar process
of transmutation, that he never became rich.
About this time there came into England a wealthy polish
nobleman, named Albert Laski, Count Palatine of Siradz.
His object was principally, he said, to visit the court of
Queen Elizabeth, the fame of whose glory and magnifcence
had reached him in distant Poland. Elizabeth received this
fattering stranger with the most splendid hospitality, and
appointed her favourite Leicester to show him all that was
worth seeing in England. He visited all the curiosities of
London and Westminster, and from thence proceeded to
Oxford and Cambridge, that he might converse with some
of the great scholars whose writings shed lustre upon the
land of their birth. He was very much disappointed at not
finding Dr. Dee among them, and told the Earl of Leicester
that he would not have gone to Oxford if he had known that
Dee was not there. The Earl promised to introduce him to
in our days," quoth that wiseacre, "for any operator or master to hear the
angels speak articulately: when they do speak, it is like the Irish, much in the
throat!"
[LXII]
The Li
the great alchymist on
was satisfed. A few davs
in the antechamber of
her Majesty, Dr. De
introduced to the Pole:
which ended by the s
the astrologer at his ho
in some tribulation, for
without pawning his pl
retinue in a manner beo
he sent off an express to
the embarrassment he 1
offces in representing
immediately sent him a
On the appointed d.
turned over, in his own
* Albert Laski, son of J
of Sendomir, and chiefy con
Third of France, to the
.
thron
therefore became a zealous
Poland with him two kow.
Historical Sketch r the Rio

l
r vel Tuba Vneris.
cllouies soon spread over
Continent. Dee, at the same
of the elixir vitae, which he
. nns of Glastonbury Abbey
fom far and near to his
nt,ities cast, in preference
:. They also longed to see
account, would never die.
fitable trade, but spent so
out some peculiar process
ae rich.
England a wealthy polish
Count Palatine of Siradz.
sd. to visit the court of
glory and magnifcence
. Elizabeth received this
splendid hospitality, and
to show him all that was
ited all the curiosities of
fom thence proceeded to
might converse with some
gs shed lustre upon the
much disappointed at not
told the Earl of Leicester
ord if he had known that
ised to introduce him to
_ oprator or master to hear the
.. it i like the Irish, much in the
The Lie of Doctor John Dee.
the great alchymist on their return to London, and the Pole
was satisfied. A few days afterwards, the Earl and Laski being
in the antechamber of the Queen, awaiting an audience of
her Majesty, Dr. Dee arrived on the same errand, and was
introduced to the Pole.* An interesting conversation ensued,
which ended by the stranger inviting himself to dine with
the astrologer at his house at Mortlake. Dee returned home
in some tribulation, for he found he had not money enough,
without pawning his plate, to entertain Count Laski and his
retinue in a manner becoming their dignity In this emergency
he sent off an express to the Earl of Leicester, stating frankly
the embarrassment he laboured under, and praying his good
offces in representing the matter to her Majesty. Elizabeth
immediately sent him a present of twenty pounds.
On the appointed day, Count Laski came, attended by
a numerous retinue, and expressed such open and warm
admiration of the wonderful attainments ofhis host, that Dee
turned over, in his own mind, how he could bind irretrievably
* Albert Laski, son of Jaroslav, was Palatine of Siradz, and afterwards
ofSendomir, and chiefly contributed to the election of Henry of Valois, the
Third of France, to the throne of Poland, and was one of the delegates who
went to France in order to announce to the new monarch his elevation to the
sovereignty of Poland. After the deposition of Henry Albert Laski voted for
Maximilian of Austria. In 1585 he visited England, when Queen Elizabeth
received him with great distinction. The honours which were shown him
during his visit to Oxford, by the especial command of the Queen, were
equal to those rendered to sovereign princes. His extraordinary prodigality
rendered his enormous wealth insufcient to defray his expenses, and he
therefore became a zealous adept in alchymy and took from England to
Poland with him two known alchymists.-Count Valerian Krasinski's
Historical Sketch i the Rqrmation in Poland.
[LXIII]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
to his interests a man who seemed so well inclined to become
his friend. Long acquaintance with Kelly had imbued him with
all the roguery of that personage; and he resolved to make
the Pole pay dearly for his dinner. He found out, before many
days, that he possessed great estates in his own country as
well as great infuence; but that an extravagant disposition had
reduced him to temporary embarrassment. He also discovered,
that he was a frm believer in the philosopher's stone and the
water of life. He was, therefore, just the man upon whom an
adventurer might fasten himself Kelly thought so too; and
both of them set to work, to weave a web, in the meshes of
which they might firmly entangle the rich and credulous
stranger. They went very cautiously about it; first throwing
out obscure hints of the stone and the elixir; and, finally, of
the spirits, by means of whom they could turn over the pages
of the Book of Futurity and read the awful secrets inscribed
therein. Laski eagerly implored that he might be admitted to
one of their mysterious interviews with Uriel and the angels;
but they knew human nature too well to accede at once to the
request. To the Count's entreaties they only replied by hints
of the diffculty or impropriety of summoning the spirits in
the presence of a stranger; or of one who might, perchance,
have no other motive than the gratification of a vain curiosity:
but they only meant to whet the edge of his appetite by this
delay and would have been sorry indeed if the Count had been
discouraged. To show how exclusively the thoughts both of
Dee and Kelly were fixed upon their dupe, at this time, it is
only necessary to read the introduction to their first interview
with the spirits, related in the volume of Dr. Casaubon. The
[LXIV]
The L
entry made by Dee.
says, that when the sp
and E. K. [Edward v
noble Polonian Albrr
obtained, and of his t
No doubt they were
of the "noble Polonia
which they afterwards
frmly within their to
thus employed, "there
spiritual creature, like a
age, attired on her h
hanging down behind;
and green, and with a
and seemed to go in
seemed to go betwen
and made way for her.
With such tales a
to day; and at last
mysteries. Whether
upon him; or whether,
he deluded himself d
became a complete t
whatever they wishe
.
himself at a certain ..
gazed intently upon it
to set down the prop
In this manner thev
become the fortunate
I
l
re/ Tuba Vneris.
i his own country as
ta,agant disposition had
ent. He also discovered,
- osopher' s stone and the
the man upon whom an
lly thought so too; and
a web, in the meshes of
the rich and credulous
aut it; first throwing
te elixir; and, fnally of
culd turn over the pages
al secrets inscribed
he might be admitted to
with Criel and the angels;
1 to accede at once to the
_ tey only replied by hints
. summoning the spirits in
e who might, perchance,
cation of a vain curiosity:
ge of his appetite by this
e if the Count had been
ely the thoughts both of
dupe, at this time, it is
on to their first interview
e of Dr. Casaubon. The

r
The Lie of Doctor John Dee.
entry made by Dee, under the date of the 25th of May 1583,
says, that when the spirit appeared to them, "I, [John Dee],
and E. K. [Edward Kelly], sat together, conversing of that
noble Polonian Albertus Laski, his great honour here with us
obtained, and of his great liking among all sorts of the people."
No doubt they were discussing how they might make the most
of the "noble Polonian," and concocting the fine story with
which they afterwards excited his curiosity and drew him
frmly within their toils. "Suddenly," says Dee, as they were
thus employed, "there seemed to come out of the oratory a
spiritual creature, like a pretty girl, of seven or nine years of
age, attired on her head, with her hair rolled up before, and
hanging down behind; with a gown of silk, of changeable red
and green, and with a train. She seemed to play up and down,
and seemed to go in and out behind the books; and, as she
seemed to go between them, the books displaced themselves,
and made way for her."
With such tales as these they lured on the Pole from day
to day; and at last persuaded him to be a witness of their
mysteries. Whether they played off any optical delusions
upon him; or whether, by the force of a strong imagination,
he deluded himself, does not appear; but certain it is, that he
became a complete tool in their hands, and consented to do
whatever they wished him. Kelly at these interviews, placed
himself at a certain distance from the wondrous crystal, and
gazed intently upon it; while Dee took his place in corner, ready
to set down the prophecies as they were uttered by the spirits.
In this manner they prophesied to the Pole, that he should
become the fortunate possessor of the philosopher's stone; that
[Lxv]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
he should live for centuries, and be chosen King of Poland; in
which capacity he should gain many great victories over the
Saracens, and make his name illustrious over all the earth. For
this pose it was necessary, however, that Laski should leave
England, and take them with him, together with their wives
and families; that he should treat them all sumptuously, and
allow them to want for nothing. Laski at once consented; and
very shortly afterwards they were all on the road to Poland.
It took them upwards of four months to reach the Count's
estates, in the neighbourhood of Cracow. In the mean time,
they led a pleasant life, and spent money with an unsparing
hand. When once established in the Count's palace, they
commenced the great hermetic operation of transmuting iron
into gold. Laski provided them with all necessary materials,
and aided them himself with his knowledge of alchymy: but,
somehow or other, the experiment always failed at the very
moment that it ought to have succeeded; and they were obliged
to recommence operations on a grander scale. But the hopes
of Laski were not easily extinguished. Already, in idea, the
possessor of countless millions, he was not to be cast down
for fear of present expenses. He thus continued from day to
day, and from month to month, till he was, at last, obliged to
sell a portion of his deeply-mortgaged estates, to fnd aliment
for the hungry crucibles of Dee and Kelly, and the no less
hungry stomachs of their wives and families. It was not till
ruin stared him in the face, that he awoke from his dream of
infatuation -too happy, even then, to fnd that he had escaped
utter beggary. Thus restored to his senses, his frst thought
was how to rid himself of his expensive visiters. Not wishing
[LXVI]
The Li1
to quarrel with them.
Prague, well furnishe
Emperor Rudolph. O
more was to be made
Without hesitation.
and set out forthwith
diffculty, on their ar
of the Emperor. They
such a thing as the p
themselves that thev
them, however, to re
themselves upon the
the more he saw of
the Pope's Nuncio r
countenance such he
should quit his dom
fortunate for them tha
they remained six hol
to procure a perpetua
Not knowing well
to return to Cracow.
by this time, the f
almost exhausted;
dinnerless and su

their poverty a seret
bear privation ithout
I
rel Tuba Vneris.
chosen King of Poland; in
great victories over the
ous owr all the earth. For
r. that Laski should leave
together with their wives
them all sumptuously and
k at once consented; and
a on the road to Poland.
money with an unsparing
the Count's palace, they
tion of trasmuting iron
al necessary materials,
wledge of alchymy: but,
always failed at the very
e: and they were obliged
der scale. But the hopes

e. -lready, in idea, the

was not to be cast down
us continued from day to
he was, at last, obliged to
estates, to fnd aliment
ad Kelly and the no less
d families. It was not till
awoke from his dream of
to fnd that he had escaped
senses, his frst thought
siw Yisiters. Not wishing
The Lie of Doctor John Dee.
to quarrel with them, he proposed that they should proceed to
Prague, well furnished with letters of recommendation to the
Emperor Rudolph. Our alchymists too plainly saw that nothing
more was to be made of the almost destitute Count Laski.
Without hesitation, therefore, they accepted the proposal,
and set out forthwith to the Imperial residence. They had no
difculty on their arrival at Prague, in obtaining an audience
of the Emperor. They found him willing enough to believe that
such a thing as the philosopher's stone existed, and fattered
themselves that they had made a favourable impression upon
him; but, from some cause or other -- perhaps the look of low
cunning and quackery upon the face of Kelly - the Emperor
conceived no very high opinion of their abilities. He allowed
them, however, to remain for some months at Prague, feeding
themselves upon the hope that he would employ them: but
the more he saw of them, the less he liked them; and, when
the Pope's Nuncio represented to him, that he ought not to
countenance such heretic magicians, he gave orders that they
should quit his dominions within four-and-twenty hours. It was
fortunate for them that so little time was given them; for, had
they remained six hours longer, the Nuncio had received orders
to procure a perpetual dungeon, or the stake, for them.
Not knowing well where to direct their steps, they resolved
to return to Cracow, where they had still a few friends; but,
by this time, the funds they had drawn from Laski were
almost exhausted; and they were many days obliged to go
dinnerless and supperless. They had great diffculty to keep
their poverty a secret from the world; but they managed to
bear privation without murmuring, from a conviction that if
[LXVII]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
the fact were known, it would militate very much against their
pretensions. Nobody would believe that they were possessors
of the philosopher's stone, if it were once suspected that they
did not know how to procure bread for their subsistence. They
still gained a little by casting nativities, and kept starvation at
arm's length, till a new dupe, rich enough for their purposes,
dropped into their toils, in the shape of a royal personage.
Having procured an introduction to Stephen, King of Poland,
they predicted to him, that the Emperor Rudolph would shortly
be assassinated, and that the Germans would look to Poland
for his successor. As this prediction was not precise enough
to satisfy the King, they tried their crystal again; and a spirit
appeared, who told them that the new sovereign of Germany
would be Stephen of Poland. Stephen was credulous enough
to believe them, and was once present when Kelly held his
mystic conversations with the shadows of his crystal. He also
appears to have furnished them with money to carry on their
experiments in alchymy: but he grew tired, at last, of their
broken promises, and their constant drains upon his pocket;
and was on the point of discarding them with disgrace, when
they met with another dupe, to whom they eagerly transferred
their services. This was Count Rosenberg, a nobleman of large
estates, at Trebona, in Bohemia. So comfortable did they fnd
themselves in the palace of this munificent patron, that they
remained nearly four years with him, faring sumptuously and
having an almost unlimited command of his money. The Count
was more ambitious than avaricious: he had wealth enough,
and did not care for the philosopher's stone on account of
the gold, but of the length of days it would bring him. They
[LXVIII]
"
The L;1

had their predictions
character. They prop
Poland; and promise
hundred years to enjn..
found them sufcient
came upon them in a
and mistrust sprang
led to such violent
the mere tool of his
to succeed him. As
more frequent, De\'
a favourable receptio
intended to proceed. i
round piece of silwr.
portion of brass cut
her the warming-pan
vel Tuba Vneris.
e ,-ery much against their
that they were possessors
once suspected that they
. fr their subsistence. They
es, and kept starvation at
ough for their purposes,
of a royal personage.
Stephen, King of Poland,
r Rudolph would shortly
s would look to Poland
wa not precise enough
crystal again; and a spirit
so,ereign of Germany
was credulous enough
nt when Kelly held his
'WS of his crystal. He also
money to carry on their
w tired, at last, of their
t drains upon his pocket;
tem with disgrace, when
they eagerly trasferred
brg, a nobleman of large
cmfortable did they fnd
"fcent patron, that they
"
. faring sumptuously, and
of his money. The Count
: he had wealth enough,
r's stone on account of
it would bring him. They

, -
i
i
I
I
The Li of Doctor John Dee.
had their predictions, accordingly all ready framed to suit his
character. They prophesied that he should be chosen King of
Poland; and promised, moreover, that he should live for five
hundred years to enjoy his dignity; provided always, that he
found them suffcient money to carry on their experiments.
But now, while fortune smiled upon them; while they
revelled in the rewards of successful villany, retributive justice
came upon them in a shape they had not anticipated. Jealousy
and mistrust sprang up between the two confederates, and
led to such violent and frequent quarrels, that Dee was in
constant fear of exposure. Kelly imagined himself a much
greater personage than Dee; measuring, most likely by the
standard of impudent roguery; and was displeased that on all
occasions, and from all persons, Dee received the greater share
of honour and consideration. He often threatened to leave Dee
to shift for himself; and the latter, who had degenerated into
the mere tool of his more daring associate, was distressed
beyond measure at the prospect of his desertion. His mind
was so deeply imbued with superstition, that he believed the
rhapsodies of Kelly to be, in a great measure, derived from
his intercourse with angels; and he knew not where, in the
whole world, to look for a man of depth and wisdom enough
to succeed him. As their quarrels every day became more and
more frequent, Dee wrote letters to Queen Elizabeth, to secure
a favourable reception on his return to England; whither he
intended to proceed, if Kelly forsook him. He also sent her a
round piece of silver, which he pretended he had made of a
portion of brass cut out of a warming-pan. He afterwards sent
her the warming-pan also, that she might convince herself that
[LXIX]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
the piece of silver corresponded exactly with the hole which
was cut into the brass. While thus preparing for the worst, his
chief desire was to remain in Bohemia with Count Rosenberg,
who treated him well, and reposed much confidence in him.
Neither had Kelly any great objection to remain; but a new
passion had taken possession of his breast, and he was laying
deep schemes to gratify it. His own wife was ill-favoured and
ill-natured; Dee's was comely and agreeable: and he longed to
make an exchange of partners, without exciting the jealousy
or shocking the morality of Dee. This was a difficult matter;
but, to a man like Kelly, who was as defcient in rectitude and
right feeling as he was full of impudence and ingenuity, the
difficulty was not insurmountable. He had also deeply studied
the character and the foibles of Dee; and he took his measures
accordingly. The next time they consulted the spirits, Kelly
pretended to be shocked at their language, and refused to tell
Dee what they had said. Dee insisted, and was informed that
they were henceforth to have their wives in common. Dee, a
little startled, inquired whether the spirits might not mean
that they were to live in common harmony and good-will?
Kelly tried again, with apparent reluctance, and said the spirits
insisted upon the literal interpretation. The poor fanatic, Dee,
resigned himself to their will; but it suited Kelly's purpose to
appear coy a little longer. He declared that the spirits must be
spirits, not of good, but of evil; and refused to consult them
any more. He thereupon took his departure, saying that he
would never return.
Dee, thus left to himself, was in sore trouble and distress of
mind. He knew not on whom to fix as the successor to Kelly
[LXX J
"
TheL
for consulting the sp:-
boy of eight years of
with great ceremon)"
dignifed and awful
to perform; but the
the faith, nor the
the crystal, as he wa
nothing. At last, wh,,
a vague indistinct s
despair. The decep -
he was never so ha
converse with superio
put estrangement b
was exactly what Kelly.
Doctor had grieYed
unexpectedly and en
in vain endeavouring
Dee, in entering this
sudden return to a
and goes on to record
which had remaine
spirits reiterated th

their wives in commo
and Dee, in all hu
This was the ex
degradation. In this
or four months, \h
separated once more
Kelly, taking the e
'
vel Tuba Vneris.
tlv with the hole which
paing for the worst, his
l with Count Rosenberg,
l much confdence in him.
n to remain; but a new
breast and he was laying
wife was ill-favoured and
able: and he longed to
t exciting the jealousy
was a difficult matter;
dfcient in rectitude and
nee and ingenuity the
e had also deeply studied
ad he took his measures
ulted the spirits, Kelly
age, and refused to tell
and was informed that
-,-es in common. Dee, a
spirits might not mean
mony and good-will?
ce, and said the spirits
. The poor fanatic, Dee,
suited Kelly's purpose to
that the spirits must be
refsed to consult them
trouble and distress of
The Lie of Doctor John Dee.
for consulting the spirits; but at last chose his son Arthur, a
boy of eight years of age. He consecrated him to this service
with great ceremony, and impressed upon the child's mind the
dignifed and awful nature of the duties he was called upon
to perform; but the poor boy had neither the imagination,
the faith, nor the artifce of Kelly. He looked intently upon
the crystal, as he was told; but could see nothing and hear
nothing. At last, when his eyes ached, he said he could see
a vague indistinct shadow; but nothing more. Dee was in
despair. The deception had been carried on so long, that
he was never so happy as when he fancied he was holding
converse with superior beings; and he cursed the day that had
put estrangement between him and his dear friend Kelly This
was exactly what Kelly had foreseen; and, when he thought the
Doctor had grieved suffciently for his absence, he returned
unexpectedly and entered the room where the little Arthur was
in vain endeavouring to distinguish something in the crystal.
Dee, in entering this circumstance in his journal, ascribes this
sudden return to a "miraculous fortune," and a "divine fate;"
and goes on to record that Kelly immediately saw the spirits,
which had remained invisible to little Arthur. One of these
spirits reiterated the previous command, that they should have
their wives in common. Kelly bowed his head, and submitted;
and Dee, in all humility, consented to the arrangement.
This was the extreme depth of the wretched man's
degradation. In this manner they continued to live for three
or four months, when, new quarrels breaking out, they
separated once more. This time their separation was fnal.
Kelly, taking the elixir which he had found in Glastonbury
[LXXI J
Libellus Vneri Nigro Sacer vel Tuba Veneris.
Abbey proceeded to Prague, forgetful of the abrupt mode in
which he had previously been expelled from that city. Almost
immediately after his arrival, he was seized by order of the
Emperor Rudolph, and thrown into prison. He was released
after some months' confinement, and continued for five years
to lead a vagabond life in Germany telling fortunes at one
place, and pretending to make gold at another. He was a
second time thrown into prison, on a charge of heresy and
sorcery ; and he then resolved, if ever he obtained his liberty,
to return to England. He soon discovered that there was no
prospect of this, and that his imprisonment was likely to be for
life. He twisted his bed-clothes into a rope, one stormy night
in February 1595, and let himself down from the window of
his dungeon, situated at the top of a very high tower. Being a
corpulent man, the rope gave way, and he was precipitated to
the ground. He broke two of his ribs, and both his legs; and
was otherwise so much injured, that he expired a few days
afterwards.
Dee, for a while, had more prosperous fortune. The
warming-pan he had sent to Queen Elizabeth was not without
effect. He was rewarded, soon after Kelly had left him, with
an invitation to return to England. His pride, which had been
sorely humbled, sprang up again to its pristine dimensions;
and he set out for Bohemia with a train of attendants becoming
an ambassador. How he procured the money does not appear,
unless from the liberality of the rich Bohemian Rosenberg, or
perhaps from his plunder. He travelled with three coaches for
himself and family, and three waggons to carry his baggage.
Each coach had four horses, and the whole train was protected
[LXXII]
The Li .
by a guard of four and
doubted; but it is on t
it on oath before the
to inquire into his eire
he had an audience of
as far as words went.
molested in his pursuit
who boasted of the pw
not, thought Elizabth.
gave him no more sub
her countenance and p
Thrown thus unex
began in earnest the
worked incessantly a
and almost poisoned
consulted his miraculO
to him. He tried one
invaluable Kelly ; but h
and of no imagination I'
communication with
to philosophy, of the
fortune. The cry stal ha,
its great high-priest. F'
no information on the
all his efforts to discm
fruitless but expensive.
and wrote piteous le
represented that, afer b,
mob had pillaged his h
'

i
.vel Tuba Vneris.
'
of the abrupt mode in
fom that city. Almost
l seized by order of the
l prison. He was released
continued for five years
telling fortunes at one
I
t
I
\
at another. He was a
a charge of heresy and
he obtained his liberty,
-ered that there was no
ent was likely to be for
a rop, one stormy night
; fom the window of
very high tower. Being a
he was precipitated to
ad both his legs; and
he expired a few days
sperous fortune. The
- abth was not without
Kelly had left him, with
- pride, which had been
. - it pristine dimensions;
-
of attendants becoming
money does not appear,
Bhemian Rosenberg, or
with three coaches for
s to carry his baggage.
whole train was protected
The Lie of Doctor John Dee.
by a guard of four and twenty soldiers. This statement may be
doubted; but it is on the authority of Dee himself who made
it on oath before the commissioners appointed by Elizabeth
to inquire into his circumstances. On his arrival in England
he had an audience of the Queen, who received him kindly
as far as words went, and gave orders that he should not be
molested in his pursuits of chemistry and philosophy. A man
who boasted of the power to turn baser metals into gold, could
not, thought Elizabeth, be in want of money; and she, therefore,
gave him no more substantial marks of her approbation than
her countenance and protection.
Thrown thus unexpectedly upon his own resources, Dee
began in earnest the search for the philosopher's stone. He
worked incessantly among his furnaces, retorts, and crucibles,
and almost poisoned himself with deleterious fumes. He also
consulted his miraculous crystal; but the spirits appeared not
to him. He tried one Bartholomew to supply the place of the
invaluable Kelly; but he being a man of some little probity
and of no imagination at all, the spirits would not hold any
communication with him. Dee then tried another pretender
to philosophy, of the name of Hickman; but had no better
fortune. The crystal had lost its power since the departure of
its great high-priest. From this quarter then Dee could get
no information on the stone or elixir of the alchymists, and
all his efforts to discover them by other means were not only
fruitless but expensive. He was soon reduced to great distress,
and wrote piteous letters to the Queen, praying relief He
represented that, after he left England with Count Laski, the
mob had pillaged his house at Mortlake, accusing him of being
[LXXIII J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
a necromancer and a wizard; and had broken all his furniture,
burned his library consisting of four thousand rare volumes,
and destroyed all the philosophical instruments and curiosities
in his museum. For this damage he claimed compensation;
and furthermore stated, that, as he had come to England by
the Queen's command, she ought to pay the expenses of his
journey. Elizabeth sent him small sums of money at various
times; but, Dee still continuing his complaints, a commission
was appointed to inquire into his circumstances. He fnally
obtained a small appointment as Chancellor of St. Paul's
cathedral, which he exchanged, in 1595, for the wardenship
of the college at Manchester. He remained in this capacity
till 160' or 1603, when, his strength and intellect beginning
to fail him, he was compelled to resign. He retired to his old
dwelling at Mortlake, in a state not far removed from actual
want, supporting himself as a common fortune-teller, and being
often obliged to sell or pawn his books to procure a dinner.
James I. was often applied to on his behalf, but he refused to do
anything for him. It may be said to the discredit of this King,
that the only reward he would grant the indefatigable Stowe,
in his days of old age and want, was the royal permission to
beg; but no one will blame him for neglecting such a quack as
John Dee. He died in 1608, in the eighty-first year of his age,
and was buried at Mortlake.
[LXXIV]
vel Tuba Veneris.
broken all his furniture,
thousand rare volumes,
istruments and curiosities
h claimed compensation;
had come to England by
t pay the expenses of his
sums of money at various
. cmplaints, a commission
circumstances. He fnally
Chancellor of St. Paul's
1595, for the wardenship
rmained in this capacity
and intellect beginning
g. He retired to his old
fa removed from actual
fortune-teller, and being
ks to procure a dinner.
bhalf, but he refused to do
the discredit of this King,
t the indefatigable Stowe,
the royal permission to
,nglecting such a quack as
t}'-frst year of his age,
THE TRUMPET OF VENUS
ENGLISH TEXT
Dr. John Dee
The name VENLS among
Soon an Infrnal
Behold the Daemoll O
11
I HE lnYocat
des, a
of the Spirits, their
preparation. The
operation. The ba
many other things to
[ J
The Little Book Sacred to the Black Vnus
The name VENUS among the Stars was given to me by the Gods
Soon an Irrnal dweller is present until the TRUMPET sounds
Behold the Daemon groans, subdued by the power rthe SIGN
Wll done! You return from the enemy an honored conqueror
HL H\NL OF L^\S
that is
@ HE Invocation or summonings of Six Spirits
existing under the Dominion of Venus,
where is taught a method of completing
the Seal of Venus and Her Trumpet, Cir
cles, a Composition, the particular names
of the Spirits, their Invocations and Sigils with their
preparation. The consecration of the book, rites of
operation. The banishing of the Spirits along with still
many other things to be observed in this work.
[3]
John Dee
Sends Many Greetings
to the Lovers i the
Magical Art.
T IS NEITHER our intent nor the Purpose of our
little book to treat of the various definitions
or divisions or Types or even the multitude of
practices of the Black Arts. For in truth many
authors have written much about this subject,
although few authors have written few things clear and
accurate; they have rather written volumes that are really very
difficult in regards to comprehension and practice.
But the Trumpet we sing of here, Dear Reader, through
its sound the Six Spirits which are subject to the Dominion of
Venus are stirred forth to their dances. They oftentimes are
stirred forth by me by the rule and method just as I have been
taught.
For before all else it is necessary to use the Invocation
particular to whichever Spirit you are calling. For not otherwise
will they appear, and although I do not deny that they are able
Libellus Vneri Nigro Sacer vel Tuba Vneris.
to be compelled to do so through strong conjurations (as like
effective chains), still this is not to be done without great labor
or through very diffcult, tedious, and ample circumstances. If
truly you have the knowledge of this Invocation-that is, of the
names and summon-ings or the appropriate words by which
the spirits are called forth and ruled by the very Angels of
the Planets themselves-and if you do not lack the remaining
requisites given in our little book, soon both without delay
noise, or terror and with every phantasm far removed you will
be able to try to compel the spirit to assume a human form.
For you should know that the good angels have been
placed over the evil spirits by God Thrice-Greatest and Best
so that they should rule over them; on account of which when
something is commanded by a good Spirit to a bad one, the
former orders and calls the latter by means of his own capable
invocation, and this perhaps may be in a language not particular
to us mortals, or even comprehensible to us.
Among learned men there are indeed various opinions
about this, but there is nothing certain as of yet. For indeed
truly the greatest Creator of all things placed a certain
Character and name upon every created thing just as it is said
"He who numbers the multitude of the Stars and gives names
to all things." (Psalm 146). However all the evil Daemons had
names and sigils placed upon them by the Highest Creator
when previously they were Angels and Stars in heaven; and
through these same names and sigils it is wholly necessary
to summon and compel them, by which means we are able to
summon even the good angels, just as elsewhere I have taught
and demonstrated.
[4]
The Litle Bk
This aforementione
by the ancient Hebrew
others, and may also b
For therefore the Scien
Negromancy, which pre'i'
Egyptians, Persians, ad
a depraved, usurped, ad
willingly give themsehe
by means of blasphemou,
hear.
On account of this
forbidden by the Church
for this reason one can
concerning its practice.
Therefore this our 1
we desire to share with
by no means for your r .
and we bequeath it to yo
good and to your ad,an
treasures, for journeys.
war, and for similar thin

'
you and be of senice to y
sufcient to teach you.
Beyond that a;e gv
of the Spirits which a
which they have among
difficulty, not otherwis
in a most terrifying form
Operator.
iel Tuba Vneris.
ong conjurations (as like
!b done without great labor
'
d ample circumstances. If
Imocation-that is, of the
ropriate words by which
by the very Angels of
do not lack the remaining
s n both without delay
tsm far removed you will
t assume a human form.
good angels have been
Thrice-Greatest and Best
on account of which when
Spirit to a bad one, the
means of his own capable
" a language not particular
- le to us.
indeed various opinions
as of yet. For indeed
things placed a certain
te thing just as it is said
te Stars and gives names
athe evil Daemons had
by the Highest Creator
and Stars in heaven; and
it is wholly necessary
Which meas we are able to
The Little Book Sacred to the Black Vnus.
This aforementioned science has been piously practiced
by the ancient Hebrew and Chaldean Fathers and by many
others, and may also be practiced nowadays by pious men.
For therefore the Sciences are revealed: Mc, Qabala, and
Negromanc
y
, which previously fourished not a little among the
Egyptians, Persians, and Arabs; when it was also practiced in
a depraved, usurped, and deformed manner, in that men would
willingly give themselves over into the hands of evil Daemons
by means of blasphemous pacts, which certainly is horrible to
hear.
On account of this most vile abuse this Art was piously
forbidden by the Church and by the Secular Authorities, and
for this reason one can find exceedingly few suitable books
concerning its practice.
Therefore this our Trumpet, acquired by peculiar study
we desire to share with you faithfully for a good purpose, and
by no means for your ruin (which arises from its abuse alone),
and we bequeath it to you so that you may use it for your own
good and to your advantage-e.g., for the finding of hidden
treasures, for journeys, for Business, for Navigation at sea, for
war, and for similar things which the Spirits are able to do for
you and be of service to you. Practice and experience will be
suffcient to teach you.
Beyond that are given other invocations or summonings
of the Spirits which are made through their highest Princes
which they have among themselves; but these obey with great
difficulty not otherwise than with great noise and by appearing
in a most terrifying form, and not without great danger to the
Operator.
[5]
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Therefore this our Invocation of the Spirits, concerning
which we are about to write, is particular to Venus; and for this
reason it is called by us "The Trumpet of Venus", since indeed
the evil Daemons are almost all subjected to the Angels of the
Seven Planets, which Daemons however have been placed in
this little book and are considered to be under the Dominion
of Venus. Wherefore the book is entitled by us '1 Little Book
ofVenus", and indeed it is to be consecrated to that Planet. We
have now made a beginning towards this book's description,
and we advise that you diligently listen and pay attention to
the rest of it. Farewell!
Completed and written in London
in the year 1580, on the 4th of June.
[6]
1
j
done however on the
of night from the stll
is not suffcient, then
the tenth hour. For it i
of Venus and indeed
new moon; wherefore
hours the sigil ofYenu
vel Tuba Vneris.
the Spirits, concerning
a to Venus; and for this
t ofVenus", since indeed
ted to the Angels of the
wr have been placed in
b under the Dominion
e by us '1 Little Book
ated to that Planet. We
this book's description,
en and pay attention to
and written in London
1580, on the 4th of June.
[7]
Chapter One
In what manner the Seal or Character
of Venus is to be prepared.
fiiiiii HE first requisite for our Negromantic operation
is the sigil ofVenus which now is to be prepared
as follows. Let a piece of new Cyprian copper
be taken which never has been used for anything
else before. From this let a plate be cut in the
size of the figure drawn a little bit below, and let it be cut
according to the particular number of the planet-that is to
say into sex angles. On this is to be engraved with an iron
or steel instrument the new and clean character. This is to be
done however on the day of Venus in the third or tenth hour
of night from the setting of the sun. If the space of one hour
is not sufficient, then the next hour is to be awaited-that is,
the tenth hour. For it is only permissible to do this in the hours
of Venus and indeed (which again is to be noted) during the
new moon; wherefore if in a single night in the two prescribed
hours the sigil of Venus is not able to be completed, then the
Libellus Vneri Nigro Sacer vel Tuba Vneris.
next new moon is to be awaited. After the sigil is completed,
it is to be fumigated on the very day and hour of Venus.
Let the fumigation be by the following types: Vervain,
myrtle, and musk.
Let it be wrapped up in a new linen cloth and again in the
aforementioned time of the day and hour of the new moon let
it buried at night in the earth in the powers of the flowing
water. Let it be unearthed on the following day and in the
hour of Venus. Let it be preserved for the opportunity of the
operation.
[8]
TM
! vel Tuba Vneris.
r the sigil is completed,
ad hour of Venus.
llowing types: Vervain,
n cloth and again in the
hour of the new moon let
pwers of the flowing
illowing day and in the
the opportunity of the
The Sigils i Vnus
[9]
[ 11 J
Chapter Two
In what manner the Horn of Venus is to be made.
ET A HORN be taken from a live bull, and let
Vitriol which has been dissolved in vinegar
made from wine be taken. Let the horn be
washed and purifed by the Vitriol. Using
the aforementioned steel instrument let the
characters be carved as shown in the following illustration.
One must make certain that the entire preparation of the Horn,
including the time which it is torn from the bull must be in
the time, day and hour ofVenus, just as was done in preparing
the Sigil. Afterwards, it is enveloped in smoke, wrapped in
linen, and buried together with the Sigil ofVenus, then later
unburied and preserved for later use.

I
I
t
t
I
I
'
!
i
i
The Trumpet i Vnus.
[ 13 J
[ 15 J
Chapter Three
In what manner the Circle is to be made.
(ii EFORE we proceed to the Invocation or summon
ing of the Spirits we must treat of the compo
sition of the circle, by which all Negromancers
always make use of in their operations just as a
very strong fortress, in order to protect them
selves from the snares of the Daemons. The composition of
circles varies, however; some operators complete the circle
in their houses with chalk, coals, or colors; some operators
exorcising in forests or crossroads use a sword or certain
stafs; but others complete the circle from parchment with an
inscription of the Divine names, which method we ourselves
elect for our own operation, and we leave this design to the
rather fortunate reader just as we have left all the other nec
essary preparations. And indeed, for the sake of the fulflling
the scope of our little book we do include here the form and
plan of the circle.
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Therefore let parchment or virgin paper be taken, and
let three circles be cut from it, to the breadth of a thumb. Let
the first circle be of the size of six feet in diameter, and let
the other two be narrower than the first by two or three fn
gers in width. Afterwards, in the aforementioned times and
hours of Venus let the divine Names be inscribed with paints
as shown in the following diagram. Finally let the finished
circle be fumigated and let it guarded for use by burying it in
the earth and letting it alone there.
[ 16 J
wl Tuba Vneris.
paper be taken, and
adth of a thumb. Let
in diameter, and let
by two or three fn
, mentioned times and
b iscribed with paints
Fmallv let the fnished
J /
The frm i the Circle.
[ 17 J
[ 19 J
Chapter Four
The Invocations of the Spirits, the names
particular to them, and in what manner
their Sigils are to be made.
r Jamr or thr jrst pint is mgartp.
iis igil.
iis nuocaton.
Mogari! Mogarzp! Mogarzp!
Hamka Temach Algazoth Syrath
Amilgos Murzocka Imgat
Alaja Amgustaroth Horim Suhaja
Mogarzp! Mogarzp! Mogarzp!
[ 0 0 J
j . w s o q v m v j . w s o q v m v j . w s o q v m v
U l _ l . l l V N s o 2 n w s . Z J O J S V :
U O J V J S n ] J } l J O . { V 2 ' S O l J U { . V l J
j . v s o q v m v j . v s o q v m v j . v s o q v m v
' U O ! l B J O O U S ! \
' l B S O Q B l 1 S ! l ! J ! d P U O J J J i l J O J l U B t J i :
i
I


nc Ramc of the 1hird pirit is lkyzub.
iis igil.
iis nuocation.
Alkyzub! Alkyzub! Alkyzub!
Mergastos Ht Agaschar Asmodit
Burgum Zephar Largon Cherip
Galgadim Uriach
Alkyzub! Alkyzub! Alkyzub!
[ 21 J
-
'hr .amr or the 'hird pirit is Jctzazrl.
!is igil.
!is nnocation.
Belzazel! Belzazel! Belzazel!
Thittersa Zapkyos Brusiat Algior
Soryam Ferozim Abdizoth Mulosin
Belzazel! Belzazel! Belzazel!
[ 22 J
f
I
i Brtzazel.
'e .ame of the jifth pirit is jalkaroth.
'is igil.
'is 9noomtion.
Falkaroth! Falkaroth! Falkaroth!
Hymelion Lothaia Estachar Indos
Nomirim Hamach Felogon
Morgoseos Angar Arstus
Falkaroth! Farkaroth! Farkaroth!
[ 23 J

'hc .amc of the ixth pirt is f cphgazub.

iis igil.
iis snuocation.
Mephgazub! Mephgazub! Mephgazub!
Samanthos Garmtin Algaphonteos
Zapgaton Osachfat Mergaim
Rugal Zerastan Alcasatti
Mephgazub! Mephgazub! Mephgazub!
[ 24 J
n


aforementioned prep
hour of Venus, after w"
buried and let alone.


I
I
i
I
. i Hrhgazub.

I
b
!
[ 25 J
In What Manner
The Sigils r the Spirits
Are to be Made.
ET green Wax be mixed with soot, and from this
mixture let little round chips be formed, and let
the Sigil of whatever Spirit is to be invoked be
carved onto these with a steel instrument. Let
these things be done in a similar manner as the
aforementioned preparations were done-in the time, day and
hour of Venus, after which the Sigils are to be fumigated, then
buried and let alone, preserved for the operation.



[ 27 J
In What Manner That
Little Book Is To Be
Consecrated.
HE little book (in which the names and invo
cations of the spirits are to be inscribed) must
be consecrated beforehand, as undoubtedly
the ancient Magi did, who so instituted the
consecration of similar books such that merely
by opening the book the spirits would be greatly compelled
to manifest, which however seems to us to be exceedingly
dangerous, especially if such a book were to fall into the hands
of men ignorant of this art. Wherefore our little book may be
consecrated in the following manner.
Let the little book be made from parchment, on which let
the character ofVenus be inscribed and if it is pleasing, also a
certain image representing the fgure of this planet, with the
sign of Venus above its head. Let the little book be entitled: A
Little Book Sacred to the Black Vnus.
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Before the invocation of the spirits let there be inscribed in
Red ink "The Trumpet of Venus", according to the Form and
function of this little book of ours, which has been consecrated
by myself and given to posterity with all other things
appurtenant, in as much as fortune might have given all these
things to you. The whole of the little book ought therefore to
be written during the oftentimes before said times of Venus,
for which is further required a feather from a dove and ink
which has prepared from copper-sulfate water and which has
been used be no one else. Also the operator is able to use a
red or green color as he pleases, since these colors are wholly
pleasing to our Planet.
After the little book has been made and written let it be
fumigated. Then let Vitriolic water be taken with which the
hand is to be flled, and the book baptized with it, saying:
I consecrate you, 0 little black book, to Venus
Let the Trumpet i Venus be your name
Let it be terrible and well known
To all the dwellers i the Underworld.
0 Great Prince i Heaven Anael!
I humbl ask that you strenghen this book,
And let it be washed in your spring
For your eternal honor
In the hours i Venus,
let the Dtmon inscribed therein
Fl hither quickl i this Trumpet sounds
And do that which I desire, though unwilling
Let him stand hither peaceabl!
[ 28 J
The Litl &

then wrapped in eit

in the earth with the
After this is don
be unearthed and r

thiso
high-minded), in the
indicated-that is, i
to a place secure fom
to his house, or better
and unfrequented.



and hang the seal of v
>
the incense and beg .
number chosen by h
be announced by te
Spirit by its own name
and again at the end. b
vl Tuba Vneris.
Jt there be inscribed in
, rding to the Form and
h has been consecrated
with all other things
. ht haw given all these
bk ought therefore to
jre said times of Venus,
jr fom a dove and ink
le water and which has
rator is able to use a
these colors are wholly
ad written let it be
taken with which the
e with it, saying:
en us
[-ndorld.

rk
[:
l rumpet sounds
; cilling
I
I
The Little Book Sacred to the Black Vnus.
After this is done the book is again to be fumigated, and
then wrapped in either a green or red cloth. Let it be buried
in the earth with the other items, and at the prescribed time
be unearthed and preserved for use.
In What Manner the Operation
Is To Be Carried Out
F all of these aforesaid things have been prepared
aright and are all ready at hand, and the operator
has tested himself suffciently and has prepared
himself so that he is capable and courageous (for
this operation requires a man both dauntless and
high-minded), in the same time which has often before been
indicated-that is, in the hour and night of Venus-let him go
to a place secure from any human disturbances; or let him go
to his house, or better yet into a wood and crossroads deserted
and unfrequented. There let the operator construct the circle
and hang the seal of Venus over his neck. Let him then kindle
the incense and begin to summon the Spirit from the assigned
number chosen by him. Let the summoning of the spirit though
be announced by the Trumpet of Venus, and let him call the
Spirit by its own name, both at the beginning of the summoning
and again at the end, but always with some pause.
[ 29 J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Now let the operator welcome the arriving spirit with the
following:
Hail, noble and obedient Spirit (here let the Spirit be called
by his own name) I I command you by the name Adonai and by
this Seal (here let the operator show the Seal to the Spirit) q
the angel Anael, chii ruler q the sphere q Venus, so that you show
yoursel quietl and peaceabl, and that you fulll my will in all q
the demands which I shall give you. 'is I charge you again by God
the Father the Son, and the Hol Spirit, and by the 'riumphant
Lord Jesus Christ who is coming to judge the world by fre.
After this, the Spirit will ask the Operator why he has
been summoned, and what it is that the Operator wishes. Let
then the Operator state clearly and distinctly what it is that he
wants. Here it is to be noted that if the Spirits show themselves
in any way obstinate, the Seal of Venus should be taken and
placed over the fire or over the coals upon which the incense
has been lit, or if incense is not being used (as at this point it
is not necessary) let the Seal be held over a burning candle so
that it becomes warm, and then let it be placed over the Sigil of
the spirit which is being summoned. By doing this the spirits
are greatly tormented, and they will ask the operator to stop
torturing them; and they will no longer refuse to carry out
his wishes.
Still let the Operator be not excessive in his requests
and desires; for I may advise that you not perchance arouse
the anger of the Divine Godhead. Nor should the Operator
display an inconstant or hesitant mind to the wily Spirits; still
less should he accept conditions of service proposed by them.
But after he shall have given the spirits his commands with a
[ 30 J
The Litle
strong and constant
diffculties or even
dominion over the
Nor must the
>l
for while the opera1
Daemons he hands
Wherefore again. i a
and everyone refai ,
Spirits fulfll the co
to be licensed to de
The
Let the banis"
through the
Norcados Fenorm ./1
own name and con
Anthyrs Zyrin.
and it is
avel Tuba Vneris.
! arriving spirit with the
t
! let the Spirit be called
k the nm .donai and by
!te Seal to the Spirit) i
Te us, so that you show
my will in all i
I charge you again by God
and by the Triumphant
- the uorl by fre.
Oprator why he has
t Operator wishes. Let
ctly what it is that he
Spirits show themselves
. u should be taken and
upn which the incense
usd (as at this point it
oer a burning candle so
b placed over the Sigil of
'By doing this the spirits
ak the operator to stop
ger refuse to carry out
cessi,e in his requests
not perchance arouse
or should the Operator
to the wily Spirits; still
ice proposed by them.

his commands with a
The Little Book Sacred to the Black Vnus.
strong and constant mind, let him consider their pretended
difficulties or even threats to be as nothing, lest he lose his
dominion over the Spirits.
Nor must the Operator any less beware lest he use the
assistance of the spirits for impious and wicked ends, toward
which indeed the Spirits lend themselves all the more promptly;
and thus indeed does the soul lie open to the greatest harm,
for while the operator seeks to exercise his power over the
Daemons he hands over his soul into their horrible possession.
Wherefore again, in a few words, we faithfully urge that anyone
and everyone refrain from the abuse of this art. But if the
Spirits fulfll the commands or will of the Operator, they are
to be licensed to depart as follows.
1/-B.ts/t//-8ptrt/s
Let the banishing be done just as the invocation,
through the trumpet of Venus, with these words:
Norcados Fenorm Anosiren (let the spirit be called once by his
own name and continue): OarcliimAmosan Zezaphilos Aspairth
Anthyrs Zyrin.
After these words are heard, the Spirits will disappear,
and it is then permissible for the operator
to leave the Circle after making a bene-
diction and giving thanks.
[ 31 J
[ 33 J
What Are Further To Be Observed
In This Operation
F AN experiment is to be done with companions
let only the Operator himself call and speak to
the Spirits, and let the others observe silence.
But if the Spirits are commanded to bring coins
or treasure, the operator must lay the Seal
of Venus atop the coins or Treasure and afterwards empty
the Treasure from its container, and transfer it into a new
container that has previously been blessed and fumigated.
With these words then we finish our little book. But you,
Dear Reader! Beware of abusing that which has been written
here, lest you forget something, and if you do anything do it
wisely, with a calm and steady mind, and this book will be of
usefulness and solace to you.
But there remains only one thing, that we warn you in
the event of a successful operation to be mindful to give alms
Libellus Vneri Nigro Sacer vel Tuba Vneris.
to the poor, and so both in this life and in the next you will
be blessed, and it will be propitious to us all when He whose
Kingdom does not end will have come to judge the living and
the dead.
[ 34 J
rei Tuba Vneris.
.

and i the next you will
to us all when He whose
e to judge the living and
TRANSCRIPTION
OF WARBURG MS. FHB 510
Richard Brzustowicz
i

I
I.

I
[ 35 J
Transcription c Wrburg MS FHB 510
Libellus Veneri I Nigro Sacer I [device r a woman, more or
less unrobed, bare-breasted and bellied, blonde hair, bare-armed
and legged; shoulders and genitals covered by a cloak-a brown robe,
standing in a bluish green patch r bare ground with nettles (?)
nearby, in her li hand a scroll, in her right a horn, on her head a
six-pointed star and in it the sign r Vnus. On the horn is the design
in fgure 1; on the scroll, that of fgre 2. The index fnger r the
lif hand rests on the b, pointing downward. All r the words in the
title are in sepia exceptfr "veneri". Beneath the fgure & ground,
written in red, is the fllowing,]
Est venus a Superis mihi datum nomen in Astris !neola mox
Stigius dum Tuba can tat adest Subditus et Dcmon signi virtute
gemiscit Euge! anima mactus victor ab hoste redis. I [2] I
[All in red:] TUBA VENERIS I id est I Vocatus sive Citationes
sex spi- I rituum sub Veneris dominio ex- I istentium ubi
Li/e//as lreriNiro8.ceroe/Ta/.lreris.
docetue Methodus per fciendi Sigillum Veneris Eiusque
Tubam Circuli Compositio Nomina propia Spirituum
Eorum voca- tus & Sigilla cum horum pr<pa- ratione.
Libri consecratio! Opera- tionis ttus. Spirituum Valedi-
ctio. cum aliis ad hue pluribus in opere ob- servan- dis.
Johannes _a Johannes Dee Amatoribus Artis Magic<
S.PD. _p-.-a/-.///p.--a-p. Non da variis
Negromantic< Artis vel defi- nitionibus vel divisionibus vel
speciebus vel etiam multifaria ejusdem praxi hie scri- bendi
nostra intentio Scopusque Libelli nostri est quippe quam
plurimi de his quam pluri- ra pauci tamen pauca clara ac
vera quin potius tum captu tibi canimus Amece Lectori!
per ejus Sonum sex ve- neris Dominio subjecti Spiritus ad
chore- as excitantur citantur ad normam & mo- dum a me
ipso prout edoctus sum sepe sepius exercitatum. Citanti enim
tibi D<mones ante omnia vocatus Spiritui cuivis pro- _+
prius necesse est secus haut quaquain compare bunt quam
vis eus per fortes conjurationes ceu effcacia vincula cogi
posse non negaverim non tamen sine ingenti Labore aut
circumstan- tiis prolixus amplivaquis & difcillimus. Si vero
huis vocatus id est nominum ac citationem seu vocabulorum
propriorum quibus spiritus ab ipsis Planetarum Angelis adva-
cantur Imperantur tibi notitia est nee requisi- tis reliquis
in hoc Libello nostro assignatis careueris mox & sine mora
strepitu terrore ac phantasmate omni Longe remote citates a
te Spiritus in forma humana comparere coactos experieris.
Scire enim te opor- tet bonos Dee tropt. Maximalis pr<-
positos esse Spiritibus ut in illos domin- tue qua propter si
a spiritu bono malo alicu pr<cipoetur quidquam hunc ille
_36
Tr.rscrq//aa
i
competenti sue Y.
mor- talibus !
incogni- ta inter
nes certitude autem
Creator omnium .1
Characterem no
stellarum et omnit
antecedente fue- '
Creatore imposit
ipsissima illos citar
quo modo etiam
alibi do- cui & de
antiquis Patribus I
exercitatam ac h
pinde enim rewlata
Cabala & Negrom
& Arabes non paru)
usurpata deprran-
in D<moniorum m
quod certe horrend1
hunc abusum ab
Ars pie est inte
de ejus praxi Libr'
nostram studio p
tamen fnem neq
ex sola abusione n
volumus it pro b
Levandos thesauro
'
rel Tuba Vneris.
igllum Veneris Eiusque
na I propia Spirituum
horum pr.pa- I ratione.
ttus. Spirituum Valedi- I
opere ob- I servan- I dis.

atoribus I Artis Magic.
red sepia] Non da variis
ibus w dvisio
_
nibus ve
. m prax1 h1c sen- I bend1
nostri I est quippe quam
puci tamen pauca clara ac
cnimus I Amece Lectori!
io subjecti Spiritus ad
1rmam & mo- I dum a me
exercitatum. Citanti enim
Spiritui cuivis pro- I [4]
compare I bunt quam
cu efcacia vincula cogi
sine ingenti Labore aut
& difcillimus. I Si vero
on em seu vocabulorum
.. Planetarum Angelis adva
.
nee requisi- I tis reliquis
ueris mox & sine mora
i Longe remote citates a
re I coactos experieris.
tropt. Maximalis pr<- I
- - I tue qua propter si
tur quidquam hunc ille
Transcrition i Warburg Manuscript FHB 510.
competenti I sue vocatu vocat jubetque licet forte in Lingua
mor- I talibus I [5] I talibus nobis haud propria quinime
incogni- I ta inter Doctores vari. quidem de ea opininio- I
nes certitude autem hactenus nulla. Ve- I rum enim vero
Creator omnium Maximus I omni Creatur< certum imposuit
Characterem I nomenque ut pote qui numerat multitudinem I
stellarum et omnibus eis nomina vocat. I [', Psz] al. CXLVI.
Omnes autem mali D.mo- I nes quum Angeli stallaque
antecedente fue- I rint in clis nomina signaque illa summo
I Creatore imposita ad in hue dum retinent atque I per h.c
ipsissima illos citare & compellere I omnio necessarium est
quo modo etiam bonos I Angelos advocate possumus prout
alibi do- I cui & demonstravi: scientiuam hanc pr.fatam I ab
antiquis Patribus Israeliticis Chal- I deis aliisque pluribus pie
exercitatam ac hodiedum a piis hominibis practicandam. I e
pinde enim revelata sunt I scienti.: I Magia I [6] I Magia
Cabala & Negromantia quae postiore apud I Egyptos Persas
& Arabes non parum foruit I kicet execrandum in modum
usurpata deprrava- I ta Lacerata hominibus per sacrilega pacta I
in D.moniorum malorum mancipia sese spon- I te tradentibus
quod certe horrendum auditu I esti propter pessimum igitur
hunc abusum ab I Ecclesia & Secularibus Magistratibus h.c
I Ars pie est interdicta atque ideo paucissimos I idoneos
de ejus praxi Libros reperire fas I est. Tubam ergo hancce
nostram studio pecu- I liari adeptam fideliter tibi in bonum
tamen I fnem nequaquam autem in tuum interitum I (si quid
ex sola abusione nanciscitur:) communica- I tam Legatamque
volumus it pro bono tui ea I utaris & commodo v:g: ad
Levandos thesauros I absconditos ad itinera ad Mercaturam
[ 37 J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
ad Na- I vigationem ad bellum & similia ad qu& spi- I ritus
prodesse tibi & inservire possunt uti I praxis I [7] I Praxis
& experimenta satis docebit. Dantur I ceteroquin alii ad hue
Vocatus seu Citationes I spirituum qu& fiunt per supremes
illorum I Principes inter semet ipsos habentes sed I hi valde
difficulter obediunt haud aliter I quam cum ingenti strepitu &
humore in for- I ra maxime terribili comparented non si- I
ne ingenti Operatoris periculo. I Hie noster proinde Vocatus
spirituum de quo scripturi sumus Veneri propius est I & ideo
a nobis tuba veneris nuncupatus I siquidem mali D&mones
septem Planeta- I rum Angelis vix non omnes sunt subjecti I
qui autem huic insterti sunt Libello sub Ve- I neris duntaxat
computtantur Domino ex I quo capite Libellus Veneris & nobis
fu- I it intitulatus quin etiam isti Planet& con- I secrandus
est ad cujus descriptionem jam I initium facimus reque ad
cuncta diligen- I [8] I ter auscultare & attendere monemus.
I Vale! I Perfectum scriptumque Landini I Anno MDLXXX
I pridie Nonis I Junij. I Tub& I [9] I Tub& Veneris I Caput
pri- I mum I Quomodo Sigillum sive Cha- I racter Veneris
I perficien- I dus. [illustrtion in red; rest in se
p
ia] Primum
ad Negromanticam hanc operationem I nostram requisitum
sigillum Veneris est quod I modo sequenti pr&parandum. I
Accipiatur Pars &ris Cyprii novi & nunqu I usati perficiatur
ex eo in magnitudine figur& I paulo post delineat& Lamina
qu& scindi de- I bet secundum Planet& numerum sibi propri-
1 ur: id est in sex Angulos: cui deinde instru- I men to ferreo
vel chalybeo nova pariter & I mundo character insculpatus
fat autem I hoc in die [Venus] in tertia & decima ho- I [10]
I ra a A occasu numeranda. Si unius hor& spati- I ur non
[ 38 J
Trnscription q
suffecerit expectandum
horam in Veneris I enim . ..
I (:quod rersus notan
nocte [Venus in pr&s
pari xatione I expect
nium. Perfectum ex p
die & hora [Venu( 1 F
Puscia & Musco. I im-o
I que iterum in tempr
noctu I defodiatur i t'
effodiatur in I subseq
pariter de nocte I scv
tunita- I te. I [ hea,
Caput I [12] I Caput
fit pr&- I paran- I da_
su- I matur Vitriolum -
abluatur purgaturque
Chalybeo cui- I cis par
sequenti adumbratione
cornu pr&paratio in c
:
diebus & horis I =Tenu]
in- I fumetur postea ac -
-
unacum Sigillo [Tenu i
con- I servatur. I Tub
with sigils to be inscn


'
.c
l
I
I
;e/ Tuba Vneris.
A similia ad quc spi- I ritus
uti j praxis I [7] I Praxis
tr I ceteroquin alii ad hue
quc fiunt per supremes
is habentes sed I hi valde
,qa cum ingenti strepitu &
- i comparented non si- I
He noster proinde Vocatus
Veneri propius est I & ideo
I siquidem mali Dcmones
non omnes sunt subjecti I
sub Ve- I neris duntaxat
\
"te Libellus Veneris & nobis
Planetc con- I secrandus
. I initium facimus reque ad
e & attendere monemus.
''
Lndini I Anno MDLXXX
' = Tubc Veneris I Caput
siw Cha- I racter Veneris
"d rest in sepia] Primum
em I nostram requisitum
. squenti prcparandum. I
nunqu I usati perficiatur
o post delineatc Lamina
etc numerum sibi propri
- de instru- I mento ferreo
do character insculpatus
tertia & decima ho- I [10]
us horc spati- I ur non
i
I
I]
I
Trnscrition i Wrbur
g
Manuscript FHB 510.
suffecerit expectandum est usque ad I alter amid est decimam
horam in Veneris I enim duntaxat fieri licet horis & quidem
I (:quod rersus notandum:) in novilunio qua- I re si una
nocte [Venus] in prcscrtiptis I horis sigillum perfici nequit
pari xatione I expectandum est usque ad alterum novilu- I
nium. Perfectum ex post sigillum infume- I tur in ipsissima
die & hora [Vnus] I Fumigum fat ex speciebus: I Verbena
Puscia & Musco. I involvatur postea in Lintheum Novum at-
1 que iterum in tempore prcdicto novilu- I nii diei horaque
noctu I defodiatur in terram I pe- I nes aquam fluen- I ter
effodiatur in I subsequenti die I & I [11] I & hora [Venus]
pariter de nocte I scveturque pro ope- I rationis oper- I
tunita- I te. I [ hexagons are bluish green, with red desigs] I
Caput I [12] I Caput secundum I Quomodo Tuba Ve I neris
fit prc- I paran- I da. Accipiatur Cornu ex Tauro vivo dein
su- I matur Vitriolum in aceto vineo LiquefactO I cum quo
abluatur purgaturque Cornu. quo I facto prcdicto Instrumento
Chalybeo cui- I cis parti inscuplantur Characteres uti I in mox
sequenti adumbratione extant. tota I autem hcc prcdicta
cornu prcparatio in I cluso tempore in quo id ex temporibus
diebus & horis I [Venus] fieri debet quod bene notandum est.
in- I fumetur postea ac involatur in Lin the- I [13] I ur atque
unacum Sigillo [Venus] infodiatur ef- I fodi I atur & in usum
con- I servatur. I Tuba Veneris. I [ two sides i horn pictured
with sigils to be inscribed:]
[ 39 J
Libel/us Vneri Nigro Sacer vel Tuba Veneris.
Caput I [ 14] I Caput terti I ur I Quomodo Circulus I facien-
1 dus. Antequam ad Spirituum Vocatum seu Ci- I titiones
progrediamur de Circuli compositi- I ones nobis agendum erit
ut pote quo Negro- I mantici omnes in suia sempter utantur
ope- I rationibus per hunc tanquam per fortissi- I mum
munimentum contra D<monum in I sidiationes. Compositio
au ter Circulork I multifaria est: aliqui operantes in aedi- I bus
& coloribus: nonnulli in sylvis I vel biviis exorxisantes faciunt
gladio I vel certis baculis: Alii vero confici- I unt Circulum ex
pergamento cum inscri- I [15] I ptione Divinorum nominum
quam & nos ad no- I stram operationem e legimus prout etiam
I fortunatiori heredi cum cacteris requisitis I omnibus jam jam
confectum reliquimus I nee non formam ejus & rationem
pro libel- I li nostri ordine & integritate hie adjung- I mus.
Accipiate ergo pergamentum sive I charta virginea scindatur ex
eo in Latitudi- I ne pollicari tres Circuli. prim us in amplitudine
sex pedum reliqui duobus vel I tribus digitis angustius. post
modum in pr<fixis temporibus horusque [Venus] No- I mina
[ 40 J
Trnscription
Divina cum colorib
Circuli viden- i tur
infumetur ac de
usu I custodia- I tur. I'
sepia circles. The outer -
to the top, "+ chael - "
+OMEGA + Raph +
goes: "+ nes + IESCS
theus + REX + Jlar +
circle: "+ TETR.\G
+ ADONA!." The
sepia.] Caput I =17: I'
eorum nomi- I na
fa- I cienda Nomen
[in a circle, the jguT
... Mogarip! ... fo
Amil- gos Murzoka
Suhaja Mogarip! -
I
j
I
I
i
I
"wl Tuba Vneris.
'
co Circulus I facien
uu seu Ci- I titiones
nobis agendum erit
suia sempter utantur
per fortissi- I mum
Compositio
in aedi- I bus
e:orxisantes faciunt
el- ! unt Circulum ex
Divinorum nominum
e legimus prout etiam
I omnibus jamjam
_,, ejus & rationem
hie adjung- I mus.
'irginea scindatur ex
primus in amplitudine
digitis angustius. post
=Venus] No- I mina
Transcription i War burg Manuscript FHB 510.
Divina cum coloribus inscriban- I tur uti in subsequenti
Circuli viden- I tur fgura. Circulus postqu I confectus
infumetur ac de- I fossu in terram hie in- I termittente ad
usu I custodia- I tur. I Forma I [16] I Forma Circuli. [Four
sepia circles. The outer circle has in it, clockwise from the sepia cross
to the top, "+ chael + AGLA + Vri + el + AGLA +Gab+ riel
+
OMEGA + Raph + ael + ON + mi." The second middle circle
goes:"+ nes + IESUS + Lu +cas+ NAZARENUS + Ma +
theus +REX+ Mar+ cus + IVDEORVM +Joan". The inner
circle: "+ TETRAGRAMMATON + IEHOVA + ELOHIM
+ ADONA!." The underlined pieces are in red; the rest are in
sepia.] Caput I [17] I Caput Quartum I Vocatus Spirituum
eorum nomi- I na propria horumque signa I quomodo sint
fa- I cienda Nomen primi spiritus. I Mogarip. I Sigillum. I
[in a circle, the .fgure below, both in sepia.] Vocatus: I Mogarip!
... Mogarip! ... Mogarip! ... I hamka Temach Algazoth syrath
Amil- gos Murzocka Imgat Alaja Am- I gustaroth Horim
Suhaja Mogarip! ... Mogarip! ... Mogarip! ...
[ 41 J
Libellis Vneri Nigro Sacer vel Tuba Vneris.
Nomen I [18] I Nomen Secundi I Spiritus: I Amabosar
I Sigillum. I [The fllowing fgure, in a circle.] I Vocatus:
Amabosar! ... Amabosar! ... Amabosar! I Pharynthes Egayroth
Melu- I staton Castotis Mugos I Nachrim Amabosar! ... I
Amabosar! ... I Amabosar!
Nomen I [19] I Nomen Tertij I Spiritus I Alkyzub I Sigillum.
I [The .fgure below, in a circle.] I Vocatus. I Alkyzub! ... Alkyzib!
... Alkyzub! . .. I Margastos Hajagit Agaschar I Asmodit
Burgum Ze- I phar Largon Cherip I Galgadim Vtiach I
Alkyzub! ... I Alky- I zub! ... Alkyzub! ...
[ 42 J
Transcrition
Nomen I [20[ I Q ,
[The .fgre belou, in a
-
,
.. . Belzazel! .. . I Ti
.
Ferosim I Abdizot .

,
Belzazel! .. .
'

r .
br vel Tuba Vneris.
ji I Spiritus: I Amabosar
kre in a circle.] I Vocatus:
f I Pharynthes Egayroth
I X achrim Amabosar! ... I
. - tus I Alkyzub I Sigillum.
s. I Alkyzub! ... Alkyzib!
-t Agaschar I Asmodit
"p I Galgadim Vtiach I
b! 000
Transcription i Warburg Manuscript FHB 510.
Nomen I [20J I Quarti I spiritus. I Belzazel I sigillum. I
[The .fgure below, in a circle.] I Vocatus: I Velzazel! ... Belzazel!
... Belzazel! ... I Thittersa Zapkyos Brusiat I Algior Soryam
Ferosim I Abdizoth Mulosin I Belzazel! ... Bel- I zazel! ...
Belzazel! ...
Nomen I [21] I Quinti I Spiritus: I Falkaroth I Sigil-lum. I
[Thefollowingfgure below, in a circle.] I Vocatus: I Falkaroth!
... Falkaroth! ... Falkaroth! ... I Hy-melion Lothaira Estacher
Jindos I Nomirim Hamach Falogon I Morgaseos Angar Ara- I
stus Falkaroth! . .. I Falkaroth! ... I Fal- I karoth! ...
[ 43 J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Nomen I [22] I Sexti I Spiritus: I Mephgazub I Sigillum.
I [The fgure below, in a circle.] I Vocatus: I Mephgazub! ...
Mephgazub! ... Meph- I gazub! ... Samanthros Jaramtin Al- I
gaphonteos Zapgaton Osachfat Mer- I gaim Hugai Zerastan
Alca- I salti Mephgazub! ... I Mephgazub! ... Meph- I gazub!
... I
Quomodo I [23] I Quomodo hac Sigilla I Spirituum I sint
facienda. I Accipiatus cera viridis cui misceatur I de fulgine.
Fiant ex ea assule rotunda I inscranturque in eas instrumento
cha- I lybeo sigillum jujusce spiritus I qui citari intenditur.
Fiant I hac sicut catera ante I dicta similis ratione I in
tempore die & I hora [Vnus] suffitus I cum de fossu hie I
intermittatur I verum ad o- I pus custo- I diatur. I Quomodo
I [24] I Quomodo Libellus I iste sit con- I se ran- I dus. I
Libellus (:cui spirituum nomina & vo- I catus inscripti sunt : )
I antecedenter con- I secratur necesse est: uti nimirum anti- I
qua fecerunt Magi qui similium Libro- I rum consecrationem
ita instituere ut ap- I periendo duntaxat Librum Spiritus
mox comparere coegissent quod tamen I nobis nimium
\
videtur periculo sum I prasertim si talia Liber infortuito in
ra- I nu hominum penitus hanc artem ingo- I rantium ex
Pergamento cui im- I primus insignatur character [Vnus]
[ 44 J
Transcription
& si Li- I bet I )!5]
figu- I ram reprasen
ejus Libellus intitule
Vocatk I spirituum
Normam hujus nost
hac omnia tibi as m
ex I calumba atque
anemine usatum etiam:
-
potest, nam hi colore.
I Libellus postquam
infumecitur. dein 1
implentur I & liber
bene no tum I omni
I Te rogo supplex
honori I fonte laYatu
I advolet velox hac s,
invitus I Placidus a'
Libellum infumetur I
I involvetur subdatu
in ter- I pore p
secratur. I Quomoo
hac an tedicta tand
manus fe- I erint atq'
praparaveritque ido1
territum magnanim
in eodem I sape I =
[Vnus] I locum ab <
vel in adibus vel me
desertis disponat ibi
!
l vel Tuba Vneris.
'
k I Mephgazub I Sigillum.
Voatus: I Mephgazub! ...
$anthros Jaramtin Al- I
l- i gaim Hugai Zerastan
pzub! ... Meph- I gazub!
I


Siglla I Spirituum I sint
misceatur I de fulgine.
que i eas instrumento
, qui citari intenditur.
t.ta similis ratione I in
s : cum de fossu hie I
o I diatur. I Quomodo
st con- I se ran- I dus. I
catus inscripti sunt :)
est: uti nimirum anti- I
rum consecrationem
taxat Librum Spiritus
tamen I nobis nimium
a tali. Liber infortuito in
Trnscription i Warburg Manuscript FHB 510.
& si Li- I bet I [25] I bet Imago qu.dam Planet< hujus
figu- I ram repr<sentans cum [Vnus] signa supter I Caput
ejus Libellus intituletur: Libel- I us Veneri nigr. sacer. Ante
Vocatk I spirituum sexibatur in Rubrica Tuba I Veneris ad
Normam hujus nostri libel- jli qui a me est si secud fortuna I
h.c omnia tibi as manus decreberit. I Integer proinde penna
ex I calumba atque attramentum calcan- I to compusitum &
anemine usatum etiam viridi rubeoque colora pro libi- I tu uti
potest, nam hi colores Pla- I net< nostro omnino grati sunt.
I Libellus postquam compositus & I [26] I conscriptus est
infumecitur. dein I accipiatur aqua Vitrioli cum I qua manus
implentur I & liber bapti I cetur dicen- I do: tremens sitque
bene notum I omnibus orci. I 6 magne Princeps Anael Olympi!
I Te rogo supplex robora volumen I tuo qui perenni semper
honori I fonte lavatur I Veneris horis D.mon ut inscriptus
I advolet velox hac si Tuba cantat I qu. volo pr.stat, faciat
invitus I Placidus adsta! I Hoc I [27] I Hoc facto rursum
Libellum infumetur I atque in pannum vel viridum vel rubk
I involvetur subdatus supter terram I cum c<teris rebus &
in ter- I pore pr.scripto effodia- I tur & pro usu con- I
secratur. I Quomodo Operatio I instituenda I sit. I Si omnia
h.c antedicta tandem rite I pr.parata promptaque ad
manus fe- I erint atque operator sese ipsum satis I probaverit
pr.paraveritque idone- I ur & animosum (:proiti idimper- I
territum magnanimumque omnio I desiderat virum:) accedat
in eodem I s.pe I [28] I s.pe indicato tempore hora & nocte
[Vnus] jlocum ab omni hominum perturbatio- I ne securum
vel in .dibus vel melius I in sylvis biviisque absitis atque I
desertis disponat ibi circulum & su- I spendat sigillum [venus]
[ 45 J
_
Libellus Vneri Nigro Sacer vel Tuba Vneris.
super collum I faciat fumigium & incipiat citare I spiritum ex
numero assignate a se ele- I ctum. Totum autem vocatum per
[Vnus] I Tubam pronunciet vocetque spiri- I tum suo nomine
tum ab initio citati- I onis tum in fne sed semper cum ali- I qua
pausa. Advenientem spri- [sic] I tum salutet modo sequenti: I
Salve nobilis ac obediente spiritus (:nominetur hie spiritus suo
nomine :) I Impero tibi per tremendum nom I Adonai & per
sigillum! I (:monstret spiritui sigillum :) Angeli I Anaelis I
[29] I Anaelis Principis Regen tis Planetr I Veneris ut quietem
te exhibeas & tranquillum atque in omnibus qur tibi man- I
daturus sum voluntatem meam ad im- I plens. hoc tibi iterato
prrcipio, per I Deum Patrem Filium & Spiritum San- I ctum
& per Triumphatorem Domini- I num Jesum Christum qui I
venturus est judicare seculum per ignem. I Post hrc spiritus
Magistrum inter- I rogabit quare fuerit citatus? quid- I nam
prrcipiat? & desideret atque I hoc Magister clare & distincte
de- I nominet. ubi notandum quod si spi- I ritus in aliquibus
pertinaces se- I se ostenderent, accipiatus sigillk I [Vnus],
detus super ignem vel carbones I cum quibus fumigium factum
est, vel I [30] I vel si fumigio non utatur (:sicut etiam I adeo
necessarium non est:) porriga- I tur Sigillum super candelam
arden ter I ut fiat calidum et imponatur super il- llud Sigillum
istius Spiritus qui cita- I tur per hoc enim enormiter crucian-
1 tur Spiritus et rogabunt Magistru[m] I ut cesset illos
tormentare & non am- I plius resistere ad implere ejus vo- I
luntatem. Non tamen in petitionibus & desideriis Magister
nimium exce- I dat, sua serim ne forte Divini numi- I nis iram
provocet nee inconstantem I astutis us monstret spiritibus auy
I vaticillantem nee minus conditio- I nes ab iis proponendas
[ 46 J
Transcription,
l
acceptet. I Sed a
spiritibus semel p
forte simulta- i n
s1c summum sane
rursum de omni a1
dehortamur. Quo s
ter magistri adim
Valedictio I [32= I
vocatus per Tuba
Anosiren ( :vocetur -
I Oparchim Am
Zyriffon. I His au
Magistro facta pro
dicitum. I Qur ::
I
ne observan- I da 5
tantum unicus loq ,
advocat, reliqui o
ad adferendum
pecu- I niis vel
ex post evacuetur
novum I prius p
Hisce igitur Libell

Le- I ctor! de ejus a
i
vel Tuba Vneris.
I
cipiat citare I spiritum ex
1Totum autem vocatum per
u spiri- I tum suo nomine
l s semper cum ali- I qua
-salutet modo sequenti: I

ominetur hie spiritus suo

ur nom I Adonai & per
ur :) Angeli I Anaelis I
er I Veneris ut quietem
omnibus qu< tibi man- I
r plens. hoc tibi iterato
& Spiritum San- I ctum
Du Jesum Christum qui I

em. I Post h<c spiritus
,, frit citatus? quid- I nam
. Magister clare & distincte
. s spi- I ritus in aliquibus
-piatus sigillk I [Vnus J,
quibus fumigium factum
utatur ( :sicut etiam I ad eo
Sigillum super candelam
supr il- llud Sigillum
enim enormiter crucian
u=m= I ut cesset illos
re ad implere ejus vo- I
& desideriis Magister
e Di,ini numi- I nis iram
u monstret spiritibus aut
I nes ab iis proponendas
Trnscription i Warburg Manuscript FHB 510.
acceptet. I Sed animo forti ac constanti petitio- I nibus a se
spiritibus semel proposi- I ti< I [ 31 J I ti< ins is tat & spirituum
forte simulta- I neas difficultates vel etiam minas I nauci
foccique faciat s<cus Dominii I sui in spiritus frustraretur.
Non mi- I nus cavendum est, ne spirituum assisten- I tia pro
perpetrandis impiis ac scele- I ratis facinoribus utatur ad quod
qui- I dem eo promptiores s<p< ostenderent, I spiritus: verum
sic summum sane ani- I ra pateretur detrimentum nam dum I
suum in D<mones vellet exertere I Dominium animam suam
in horrendu[m] illorum traderet mancipatum. qua- I re paucis
rursum de omni abusu artis hujus cunctos & singulos I fideliter
dehortamur. Quod si ita- I que spiritus mandata seu volunta- I
ter magistri adimpleverint licen- I tientur modo sequenti: I
Valedictio I [32] I Valedictio I spiritu- I ur. H<c fit sicut
vocatus per Tubam [Vnus] I hisce verbis: I Norcados Fenoram
Anosiren (:vocetur hie spiritus suo nomine semel & pergatur:)
I Oparchim Amosan Zezaphilos Aspa- I irath Anthyras
Zyriffon. I His auditis spiritus mox fent invisi- I biles. I et
Magistro facta pro Libitu benedictio- I ne e circulo egredi I est
dicitum. I Qu< I [33] I Qu< ulterius ad I hue in operatio- I
ne observan- I da sunt. Sicum sociis fiat experimentum Ille I
tan tum unicus loquatur spiritibus, I qui Magistrum agit, & illos
advocat, reliqui omnes silentium observent. I Quod si spiritus
ad adferendum Thesau- I ros et nummos compellantur sic
pecu- I niis vel Thesauro imponi debet, sigil- I lum [Vnus]
ex post evacuetur Thesaurus I ex vasibus suis & in aliud vas
novum I prius perfurmatum & benedictum trans- I feratur.
Hisce igitur Libello nostro fnem imponimus. Tu vero amice
Le- I ctor! de ejus abusu cave qu< hie scri- I pta sunt bene
[ 47 J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
perpende ne quid obli-
I
viscaris
I
[34] I viscaris attendas
& si quid agis prudenter I agas atque animo imperterrito
I
constan-
I
ti per:cias & magno tibi erit utilitati
I I
& solatio.
I Ast unicum adhuc restat te admoneamus
I
ut in bono operis
successu pauperum
I
quam optime benefaciendo sis memor-
I
e sic tum in hac tum in altera vita be- I atus eris & propitius
erit omnibus
I
nobis ille qui venturus est judi-
I
care vivos &
mortuos cu- I jus regni non erit I Finis.
[ 48 J
rr vel Tuba Vneris.

I =84] I viscaris attendas
atque animo imperterrito I
tbi erit utilitati I I & solatia.
neamus I ut in bono operis
benefaciendo sis memor- I
be- I atus eris & propitius
rus est judi- I care vivos &
Finis.

i
-
'
THE TRUMPET OF VENUS
LTIN TEXT
Dr. John Dee
et Sigilla cum
Operationis Ritus.
pluribus in opere
[ 49 J
Libellus Vneri Nigro Sacer
Est VENUS a Superis mihi datum nomen in Astris
!neola max Stius dum TUBA cantat adest
Subditus En Dtmon SIGNI virtute gemiscit
Euge! animi mactus victor ab haste redis.
TUBA VENERIS
id est
ocATUS sive Citationes Sex Spirituum sub
Veneris dominio existentium, ubi docetur
Methodus perfciendi Sigillum Veneris
Eiusque Tubam, Circuli, Compositio,
Nomina propris Spirituum, Eorum Vocatus
et Sigilla cum horum pneparatione. Libri consecratio,
Operationis Ritus. Spirituum Valedictio cum aliis adhuc
pluribus in opere observandis.
[51 J
Joannes Dee
Amatoribus
Artis Magicc
S.PD.
ON de variis Negromanticr Artis vel def
nitionibus vel divisionibus vel Speciebus vel
etiam multifaria ejusdem praxi hie scribendi
nostra intentio Scopusque Libelli nostri est,
quippe quam plurimi de his quam plurima pauci
tamen pauca clara ac vera quin potius tum captu tum praxi
difficillima scripsere volumina. Sed Tuba hie tibi canimus
Amice Lectori per cujus Sonum Sex Veneris Dominio subjecti
Spiritum ad choreas excitantur citantur ad normam et modum
a me ipso prout edoctus sum saepe saepius exercitatum.
Citanti enim tibi Daemones ante omnia Vocatus Spiritui
cuivis proprius necesse est. Secus haud quaquam comparebunt
quamvis eos per fortes conjurationes ceu efficacia vincula
cogi posse non negaverim non tamen sine ingenti labore aut
circumstantiis prolixis amplivaguis et difficillimis.
Libel/us Vneri Nigro Sacer vel Tuba Vneris.
Si vero hujus Vocatus, id est nominum ac citationum seu
vocabulorum propriorum, quibus Spiritus ab ipsis Planetarum
Angelis advocantur imperantur tibi notitia est nee requisitis
reliquis in hoc Libello nostro assignatis carueris mox et sine
mora strepitu terrore ac phantasmate omni longe remoto
citatos a te Spiritum in forma humana comparere coactos
expenens.
Scire enim te oportet bonos a Deo teropt. Max. malis
praepositos esse Spiritibus ut in illos dominentur; qua propter
si a Spiritu bono malo alicui praecipietur quidquam hunc ille
competenti suo vocatu vocat jubetque, licet forte in lingua
mortalibus nobis haud propria quin imo incognita.
Inter Doctores variae quidem de ea opinionem certitudo
autem hactenus nulla. Verum enim vero Creator omnium
maximus omni creaturae certum imposuit Characterem
nomenque utpote qui numerat multitudinem Stellarum et
omnibus eis nomina vocat. ' al. cxLvi. Omnes autem mali
Daemones, quum Angeli Stellaeque antecedenter fuerint in
coelis, nomina Signaque illis a Summo creatore imposita adhuc
dum retinent atque per haec ipsissima illos citare et compellere
omnino necessarium est, quo modo etiam bonos Angelos
advocare possumus, prout alibi docui et demonstravi.
Scientiam hanc praefatam ab antiquis Patribum Israeliticis
Chaldeis aliisque pluribus pie exercitatam ac hodiedum a piis
hominibus practicandam. Exinde enim revelatc sunt Scientic:
Magia, Qabala et Negromantia, quc posterior apud Aegyptos,
Persas et Arabes non parum foruit, licet execrandum in modum
usurpata, depravata lacerata, hominibus per Sacrilega pacta in
Dcmoniorum malorum mancipia se se sponte tradentibum
[52 J
Libellus Vneri
quod certe horrendum
hunc abusum ab Eccle
Ars pie est interdicta .
praxi libros reperire fa ,
Tubam ergo hancc
fdeliter tibi in bonum
interitum (:qui ex soli
legatamque volumus ut
adlevandos thesauros
N avigationem ad blu
et inservire possunt ut
Dantur ceteroquin a
jam initium facimus
attendere monemus. V
ir vel Tuba Vneris.
mnum ac citationum seu
iritus ab ipsis Planetarum
i notitia est nee requisitis
atis carueris mox et sine
.
mate omni Ionge remoto
! human a comparere coactos
i Deo teropt. Max. malis
l dominentur; qua propter
ietur quidquam hunc ille
que, licet forte in lingua
i imo incognita.
de ea opinionem certitudo
Yero Creator omnium
imposuit Characterem
.ultitudinem Stellarum et
',
'
CYI. Omnes autem mali
antecedenter fuerint in
o creatore imposita adhuc
illos citare et compellere
o etiam bonos Angelos
et demonstravi.
tquis Patribum lsraeliticis
tatam ac hodiedum a piis
m revelatc sunt Scientic:
psterior apud Aegyptos,
lcet execrandum in modum
' "bus per Sacrilega pacta in
s se sponte tradentibum

Libellus Vneri Nigro Sacer vel Tuba Vneris.
quod certe horrendum auditu est. Propter pessimum igitur
hunc abusum ab Ecclesia et Secularibus Magistratibus hcc
Ars pie est interdicta atque ideo paucissimos idoneos de ejus
praxi libros reperire fas est.
Tubam ergo hancce noctram studio peculiari adeptam
fdeliter tibi in bonum tamen fnem nequaquam autem in tuum
interitum (:qui ex soli abusione nanciscitur:) communicatam
legatamque volumus ut pro bono tui ea utaris et commodo v:g:
ad levandos thesauros absconditos ad itinera ad Mercaturam ad
N avigationem ad bellum et similia ad quc Spiritus prodesse tibi
et inservire possunt uti. Praxis et experientia satis docebit.
Dantur ceteroquin alii adhuc vocatus seu citationes Spirituum
quc funt per supremos illorum Principes inter semet ipsos
habentes sed hi valde difficulter obediunt haud aliter quam cum
ingenti strepitu et in forma maxime terribili comparentes non
sine ingenti Operatoris periculo.
Hie noster proinde Vocatus Spirituum de quo scripturi
sumus Veneri proprius est et ideo a nobis Tuba Veneris
nuncupatur siquidem mali Dcmones Septem Planetarum
Angelis vix non omnes sunt subjecti qui autem huic inserti
sunt Libello sub Veneris duntaxat computantur Dominio
ex quo capite Libellus Veneris a nobis fuit intitulatus quin
etiam isti Planet& consecrandus est ad cujus descriptionem
jam initium facimus teque ad cuncta diligenter auscultare et
attendere monemus. Vale!
Perfectum Scriptumque Londini
Anno MDLXXX. Pridie Nonis Junij.
[53 J
I
i
!
[55 J
Tubc Vneris Caput Primum
Quodmodo Sigillum sive Character Veneris pediciendum.
' RIMUM ad Negromanticam hanc operationem
nostram requisitum Sigillum Veneris est quod
modo sequenti pr<parandum. Accipiatur Pars
<ris Cyprii novi et nunquam usati perfciatur ex
eo in magnitudine figur< paulo post delineat<
Lamina qu< scindi debet secundum Planet< numerum sibi
proprium, id est in sex Angulos: cui deinde instrumento ferreo
vel chalybeo nova pariter et munda Character insculpatur fiat
autem hoc in die de nocte in tertia et decima hora a occasu
numeranda. Si unius hor< spatium non suffecerit expectandum
est usque ad alteram id est decimam horam in Veneris enim
duntaxat feri licet horis et quidem (:quod rursus notendum:)
in novilunio, quare si una nocte in duabus pr<scriptis horis
sigillum perfci nequit pari ratione expectandum est usque ad
alterum novilunium. Perfectum ex post Sigillum infumetur in
ipsissima die et hora.
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Fumigium fiat em Speciebus: Verbena puscia* et Musco.
Involvatur postea in lintheum novum atque iterum in
tem-pore pnedicto Novilunii diei honeque noctu defodiatur
in terram penes aquam ftuentem effodiatur in subsequenti
die et hora pariter de nocte serveturque pro operationis
oportuni tate.
Sigillum Vneris
*This appears to be a slip of the pen; no herb of this name is found in any
classical or Medieval Latin lexicon. Meier ( 1990) considers that
p
osia or
p
ause a
(a kind of olive), or ruscus (wild myrtle) may have been intended. I guessed
myrtle, as Agrippa gives it as a Venusian herb and the combination of it with
the other two herbs appears to me to produce a satisfactory scent. -M.P
[56 J
I
usum conservetur.
e 1el Tuba Vneris.
bn a puscia * et Mus co.
noYum atque iterum in
honque noctu defodiatur
efodiatur in subsequenti
Ieturque pro operationis
hr of this name is found in any
) considers that posia or pausea
haw been intended. I guessed
and the combination of it with
e a satisfactory scent. -M.P.
[57 J
Caput Secondum
Quomodo Tuba Veneris sit pr<paranda.
cciPIATUR Cornu em Tauro vivo dein sumatur
Vitriolum in aceta vineo liquefactum cum quo
abluatur purgaturque Cornu, quo facto predicto
Instrumento Chalybeo cui vis parti insculpantur
Characteres uti in mox sequenti adumbratione
extant. Tota autem h<c pr<dicta Cornu pr<paratio incluso
tempore in quo id ex tauro abripitur, pari ratone ac de Sigillo
antecedenter indicatum est in temporibus diebus et horis fieri
debet quod bene notandum est. Infumetur postea ac involvatur
in lintheum atque unacum Sigillo infodiatur, effodiatur et in
usum conservetur.

--
' uba Vneris.
This is obviousl
y
a
[58 J
s
[59 J
Caput Tertium
Quomodo Circulus faciendus
NTEQUAM ad Spirituum Vocatum seu citationem
progrediamur de circuli compositione nobis
agendum erit, utpote quo Negromantici omnes
in suis semper utantur operationibus per hunc
tanquam per fortissimum munimentum contra
Dcmonum insidiationes sese tuentes. Compositio autem
circulorum multifaria est, aliqui operantes in cdibus eundem
perficiunt crete carbonibus et coloribus; nonnulli in sylvis
vel biviis exorzisantes* faciunt gladio vel certis baculis; Alii
vero conficiunt circulum ex pergamento cum inscriptione
Divinorum nominum, quem et nos ad nostram oporationem
elegimus, prout etiam fortunatiori hcredi cum ccteris
requisitis omnibus jamjam confectum reliquimus, nee non
formam ejus et rationem pro libelli nostri ordine et integritate
hie adjungimus.
*This is obviously a simple misspelling of the participle exorcizantes. -M.P
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Accipiatur ergo pergamentum sive charta virginea,
scindantur ex eo in latitudine pollicari tres circuli. primus
in amplitudine sex pedum reliqui duobus vel tribus digitis
angustius, postmodum in prafxis temporibus horisque
Nomina divina cum coloribus inscribantur uti in subsequenti
Circuli videntur fgura. Circulus postquam confectus infumetur
ac defossu in terram hie intermittente ad usum custodiatur.
[ 60 J
el Tuba Vneris.
'
siYe charta virginea,
. cari tres circuli. prim us
- duobus vel tribus digitis
s temporibus horisque
- antur uti in subsequenti
juam confectus infumetur
t ad usum custodiatur.
i
'

r
!








Forma Circli.
[ 61 J
[ 63 J
Caput Quartum
Vocatus Spirituum eorum nomi
na propris horumque signa
quomodo sint facienda .
.omr primi piritus.
mogarip.
igillum.
locatus:
Mogarip! Mogarzp! Mogarzp!
Hamka Temach Algazoth Syrth A mil
gas Murzocka Imgat Alaja Am
gustaroth Horim Suhaja Moga
ri! Mogarzp! Mogarzp!

Romm scmndi piritus: fmabosar.
igillum.
ocatus:
Amabosar! Amabosar! Amabosar!
Pharynthos Egayroth Melustaton
Castotis Mugos Nachrim
Amabosar! Amabosar! Amabosar!
[ 64 J
!



l


l
l

! .mabosar!
Jlelustaton
! .mabosar!
'
fJ
.omcn 'crtij piritus. 2lkyzub.
igillum.
ocatus:
Alkyzub! Alkyzub! Alkyzub!
Mergastos Ht Agaschar Asmodit
Burgum Zephar Largon Cherip
Galgadim Uriach
Alkyzub! Alkyzub! Alkyzub!
[ 65 J
1111111111
Jomcn <narti piritns: Jelzazct.
igillnm.
ocatns:
Belzazel! Belzazel! Belzazel!
Thittersa Zapkyos Brusiat A lior
Soryam Ferzim Abdizoth Mulosin
Belzazel! Belzazel! Belzazel!
[ 66 J
Bduzrl.
!
J
:siat Alor
- oth Wulosin
.omr <ninti piritus: jalkaroth.
igillum.
\ocatus:
Falkaroth! Falkaroth! Falkaroth!
Hymelion Lothaia Estachar Indos
Nomirim Hamach Felogon
Morgoseos Angar Arastus
Falkaroth! Farkaroth! Farkaroth!
[ 67 J
llllllllll
ll omcn ati piritus: fcphgazub.
igillum.
ocatus:
Me
p
hgazub! Me
p
hgazub! Me
p
hgazub!
Samanthos Garmtin Alga
p
honteos
Za
p
gaton Osachfat Mergaim
Rugal Zerastan Alcasatti
Me
p
hgazub! Me
p
hgazub! Me
p
hgazub!
[ 68 J
_ c<tera
et hora suffitus cum
custodiatur.
!
i
.
' -
!
b! Jhgazub!
Algaphonteos
\lergaim
--lasatti
b! \ephgazub!
[ 69 J
Quomodo h(c Sigilla
Spirituum
sint faci-
enda
CCIPIATUR Cera viridis cui misceatur de fuligine,
fiant ex ea assuhe rotundr inseranturque in
eas instrumento chalybeo Sigillum hujusce
Spiritus qui citari intenditur. fiant hrc sicut
crtera antedicta simili ratione in tempore die
et hora suftus cum defossu hie intermittatur verum ad opus
custodiatur.
[ 71 J
Quomodo Libellus
iste sit con
secran-
dus.
IBELLUS (:cui Spirituum nomina et Vocatus
inscripti sun t:) an teceden ter consecretur
necesse est: uti nimirum antiqui fecerunt
Magi qui similium librorum consecrationem
ita instituere ut apperiendo duntaxat librum
spiritus max comparere coegissent, quod tamen nobis nimium
videtur periculosum pnsertim si talis liber infortuite in manus
hominum hanc artem penitus ignorantium incidat.
Quare libellum nostrum sequenti consecrare libuit modo.
Fiat Libellus ex Pergamento cui imprimis insignatur Character
et si libet Imago qucdam Planetc hujus figuram reprcsentans
cum Signo super Caput ejus. Libellus intituletur: Libellus
Veneri nigrc Sacer. Ante Vocatum Spirituum scribatur in
Rubrica Tuba Veneris ad Normam hujus nostri Libelli, qui a
me ipso consecratus atque cum reliquis omnibus appertinentiis
posteritati relictus est, si secus fortuna hcc omnia tibi ad manus
Libellus Vneri Nigro Sacer vel Tuba Vneris.
decreverit. Integer proinde libellus in scpe dictis temporibus
conscribi debet ad quod ulterius requiritur penna ex calumba
atque attramentum calcanto compositum et a nemine usatum
etiam viridi rubeoque colore pro libitu uti potest, nam hi
colores Planetc nostro omnino grati sunt.
Libellus postquam compositus et conscriptus est
infumicetur. dein accipiatur aqua Vitrioli cum qua manus
impleatur et liber bapti[z]etur dicendo.
Vneri nigrum te Sacra libellum,
Vneris esto Tuba tibi nomen,
incolis tremena sitque bene notum
omnibus orci.
0 Magne Princeps Anael Olympi!
Te raga supplex robor Volumen
tuo qui perenni semper honori
fnte lavatur
Vneris horis Damon ut inscriptus
advolet velox hac si Tuba cantat
qua vola prastet,faciat invitus.
Placidus adsta!
[ 72 J

ab omni hominum
melius in Syhia bi
circulum et uupendat
!
i
et incipiat citare Sp. -
Totum autem Yoca
Spiritum suo nomine
semper cum aliqua .
Advenientem Sp
Salve nobilis ac
suo nomine :) Impr!
j
vel Tuba Veneris.
'
p dictis temporibus
tur penna ex calumba
tm et a nemine usa tum
:litu uti potest, nam hi
sunt.
!tus et conscriptus est
Vitrioli cum qua manus
i
o.
1:
f
[ 73 J
Hoc facto rursum Libellus infumetur
atque in pannum vel viridum vel rubrum
involvetur, subdatur supter terram
cum c<teris rebus et in tem-
pore pr<scripto effodia-
tur et pro usu con-
servetur.
Quomodo Operatio
instituenda
sit
I OMNIA h<c antedicta tandem rite pr<parata
promptaque ad manus fuerint atque operator
se se ipsum satis probaverit pr<paraveritque
idoneum et animosum (:pro uti id imperterritum
magnanimumque omnino desiderat virum:)
accedat in eodem s<epe indicato tempore hora et nocte locum
ab omni hominum perturbatione securum vel in <dibus vel
melius in Sylvia biviisque absitis atque desertis, disponat ibi
circulum et uupendat Sigillum super collum, faciat fumigium
et incipiat citare Spiritum ex numero assignato a se electum.
Totum autem Vocatum per Tubam pronunciet vocetque
Spiritum suo nomine tum ab initia citationis tum in fne sed
semper cum aliqua pausa.
Advenientem Spiritum salutet modo sequenti:
Salve nobilis ac obediens Spiritus(: nominetur hie Spiritus
suo nomine :) Impero tibi per tremendum nomen Adonai
Libellus Vneri Nigro Sacer vel Tuba Vneris.
et per hoc Sigillum (: monstret Spiritui Sigillum :) Angeli
Anaelis Principis Regentis Planet& Veneris ut quietem te
exhibeas et tranquillum atque in omnibus quc tibi mandaturus
sum voluntatem meam adimpleas. Hoc tibi iterato prccipio
per Deum Patrem Filium et Spiritum Sanctum et per
Triumphatorem Dominum Jesum Christum qui venturus est
judicare seculum per ignem.
Post hcc Spiritus Magistrum interragobit quare fuerit
citatus, quidnam prccipiat? et desideret atque hoc Magister
clare et distincte denominet. ubi notandum quad si Spiritum
in aliquibus pertinaces sese ostenderent, accipiatur Sigillum,
detur super ignem vel carbones cum quibus fumigium factum
est, vel si fumigio non utatur (:sicut etiam adeo necessarium
non est:) porrigatur Sigillum super candelam ardentem ut fiat
calidum et imponatur super illud Sigillum istius Spiritus qui
citatur per hoc enim enormiter cruciantur Spiritus et rogabunt
magistrum ut cesset illos tormentare et non amplius resistant
adimplere ejus voluntatem.
Non tamen in petitionibus et desideriis Magister nimium
excedat, suaserim ne forte Divini N uminis iram provocet; nee
inconstantem astutis us monstret spiritibus aut vaticillantem
nee minus conditiones ab iis proponendas acceptet. Sed animo
forti ac constanti petitionibus a se Spiritibus semel propositis
insistat et Spirituum forte simultaneas difficultates vel etiam
minas nauci foccique faciat secus Dominii sui in Spiritus
frustraretur.
Non minus cavendum est, ne Spirituum assistentia pro
perpetrandis impiis ac sceleratis facinoribus utatur ad quod
quidem eo promptiores se se ostenderent Spiritus: verum
[ 74 J
Libellus Vneri Xi
.
.
s1c summum sane amma
suum in Dcmones ,-elet
in horrendum illorum
rursum de omni abusu
dehortamur. Quod si itaq1
Magistri adimplewrint
Norcados Fenoram Anosi
semel et pergatur:)
Anthyrs Zyrif
n
.
J
1
!
l

i
I el Tuba Vneris.
I
iritui Sigillum :) Angeli
Veneris ut quietem te
1bus qme tibi mandaturus
I Hoc tibi iterato pnecipio
iritum Sanctum et per
ristum qui venturus est
r
.interragobit quare f

erit
ret atque hoc Mag1ster
tandum quad si Spiritum
rent, accipiatur Sigillum,
quibus fumigium factum
etiam adeo necessarium
cndelam ardentem ut fat
ur istius Spiritus qui
tur Spiritus et rogabunt
et non amplius resistant
ideriis Magister nimium
uinis iram provocet; nee
iritibus aut vaticillantem
.
das acceptet. Sed animo
. Siritibus semel propositis
a difcultates vel etiam
Spirituum assistentia pro
inoribus utatur ad quod
derent Spiritus: verum
Libellus Vneri Nigro Sacer vel Tuba Vneris.
sic summum sane anima pateretur detrimentum nam dum
suum in Dcmones vellet exercere Dominium animam suam
in horrendum illorum traderet mancipatum. Quare paucis
rursum de omni abusu artis hujus cunctos et singulos fdeliter
dehortamur. Quod si itaque Spiritus mandata seu voluntatem
Magistri adimpleverint licentientur modo sequenti:
Vledictio
Spiritu
um.
Hcc ft sicut Vocatus per Tubam
hisce verbis:
Norcados Fenoram Anosiren (:vocetur hie Spiritus suo nomine
semel et pergatur:) Oparcliim Amosan Zezaphilos Aspairth
Anthyrs Zyrion.
His auditis Spiritum mox fent invisibiles.
et magistro facta pro libitu benedictio
ne e Circulo egredi
est licitum .
[ 75 J
[ 77 J
Qua ulterius ad
huo in operatione
observanda sunt.
r CUM sociis fiat experimentum Ille tan tum unicus
loquatur Spiritibus, qui Magistrum agit, et illos
advocat, reliqui omnes silentium observent.
Quod si Spiritus ad adferendum Thesauros
et nummos compellantur sic pecuniis vel
Thesauro imponi debet, Sigillum ex post evacuetur Thesaurus
ex vasibus suis et in aliud vas novum prius perfurmatum et
benedictum transferatur.
Hisce igitur libello nostro finem imponimus. Tu vera amice
Lector! de ejus abusu cave qur hie scripta sunt bene perpende
ne quid obliviscaris attendas et si quid agis prudenter agas
atque animo imperterrito et constanti perficias et magna tibi
erit utilitati et solatia.
Ast unicum adhuc restat te admoneamus ut in bono operis
successu pauperum quam optime benefaciendo sis memor. Et
sic tum in hac tum in altera vita beatus eris at propitius erit
omnibus nobis ille qui venturus est judicare vivos et mortuos
cujus Regni non erit Finis.
[ 78 J

I
atus eris at propitius erit
judicare vivos et mortuos
SELECTED MANSCRIPT
BIBLIOGRAPHY
James Banner
I,
I
I
I
. .


[ 79 J
Selected Manuscript Bibliography
Sloane MS. 8.
Aldaria, sive Soyga. Begins: 'Qui conjunctioni naturae passus
intendunt, et qui.'
Sloane MS. 78.
Contains an excerpt from Dee's Liber mysteriorum sextus et
sanctus. A partial transcription of the frst few leaves of MS.
3189 without any tables. The same material is also to be found
in Mysteriorum Liber Quintus in Sloane MS. 3188, Liber mister
iorum sextus et sanctus, Nine great coelestial keys or angelicall
invocations.
Sloane MS. 307.
Misidentifed in the BL catalog as The cabalistic treatise, called
Clavicula Salomonis, trnslated into English; this actually contains
what is probably a manuscript copy of A True & Faithful
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Relation. It begins with a description of the Tablet of Earth.
Sloane MS. 719.
William Shippen's transcription of Dee's A True & Faithful
Relation, corrected against the original manuscript, 1683.
Sloane MS. 1782., 31.
Horoscope, 1527
Sloane MS. 2575.
Contains fragments ofSloane MS. 3189.
Sloane MS. 2599.
Copy of Sloane MS. 3189 .f. 1-45. Liber misteriorum sextus et
sanctus with tables [Parts of Dr Dee's work on Angels, copied
from MS. Sloane 3 189.] ff.46-49.Preface and notes by John
Michael Faustius, to the Introitus apertus ad occulsum Reis
Palatium, a Philaletha, discussing the subject of the real name
and the country of the author Philalethes.
Sloane MS. 3188.
This manuscript contains six separate books:
Mysteriorum Liber Primus
Diaries, December 22, 1581 to March 15, 1582.
Mysteriorum Liber Secundus
Diaries, March 6, 1582 to March 21, 1582.
Mysteriorum Liber Tertius.
Diaries, April 28, 1582 to May 4, 1582.
Quartus Liber Mysteriorum
[ 80 J

Selected _\ .
Diaries, X o\e
Liber Mysteriorum
Diaries, lach
Quinti Libri _\rst
Diaries, April _ _

Sloane MS. 8189.
Contins Liber :-,1.
Kelly s handwntmg.

Sloane MS. 3190.
A copy of the True

Sloane MS. 8191.
l
This manuscript conS
VH Claves Angelica
Liber Scientice .
De Heptarchia J,- -
Sloane MS. 8645. -:
A seventeenth-centur
1790.
l
Sloane MS. 8677.

Elias Ashmole' s copy
Sloane MS. 8678.
Elias Ashmole' s cop-
ir el Tuba Vneris.
fn of the Tablet of Earth.
!
"
.-
,
i

Dee's A True & Faithful

manuscript, 1683.
is189.
i. Liber misteriorum sextus et
e s work on Angels, copied
.reface and notes by John
j apertus ad occulsum Regis
t subject of the real name
ialethes.
I

r-
te books:
l1 to :arch 15, 1582.
arch 21, 1582.
ay 4, 1582.

I
]
i
Selected Manuscript Bibliography.
Diaries, November 15, 1583 to November 21, 1583.
Liber Mysteriorum Quintus
Diaries, March 23, 1583 to April 18, 1583.
Quinti Libri Mysteriorum Appendix
Diaries, April 20, 1583 to May 23, 1583.
Sloane MS. 3189.
Contains Liber Mysteriorum Sextus and Sanctus in Edward
Kelly's handwriting.
Sloane MS. 3190.
A copy of the True Relation with notes.
Sloane MS. 3191.
This manuscript consists of three separate books:
49 Claves Angelica, Anno 1584 Crcovice
Liber Scientice Auxilii et Victoria, Terrestris
De Heptarchia Mystica
Sloane MS. 3645.
A seventeenth-century English translation of Ashmole MS.
1790.
Sloane MS. 3677.
Elias Ashmole's copy of Sloane MS. 3188.
Sloane MS. 3678.
Elias Ashmole's copy of Sloane MS. 3191.
[ 81 J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Cotton Appendix XVLI, Parts 1 & 2.
This manuscript contains thirteen separate books, viz.;
Liber Mysteriorum (et Sanctz) parallelus Novalisque
Diaries, May 28, 1583 to July 4, 1583
Liber Peregrinationis Prime Videlicet A Mortlaco
Diaries, September 21, 1583 to March 13, 1584
Mensis Mysticus Saobaticus Pars primus ejusdem
Diaries, April 10, 1584 to April 30, 1584
Libri Mystici Apertorii Cracoviensis Sabbatici
Diaries, May 7, 1584 to May 22, 1584
Libri Septimi Cracoviensis Mystici Sabbatici
Diaries, May 23, 1584 to July 12, 1584
Libri Crcoviensis Mysticus Apertorius Prcterea Pro mium
Madimianum
Diaries, July 12, 1584 to August 15, 1584
Mysteriorum Prgensium Liber Primus Ccsareusque
Diaries, August 15, 1584 to October 8, 1584
Mysteriorum Pragensium Confrmatio
Diaries, December 20, 1584 to March 20, 1585
Mysteriorum Cracoveinsium Stephanicorum Mysteria Stephanica
Diaries, April 12, 1585 to June 6, 1585
Unica Action, quce Pucciana vocetor
Diaries, August 6, 1585 to September 6, 1585
Liber Resurrectionis Prgue, Pactum sev Fcrdus Sabbatismi
Diaries, April 30, 1586 to January 21, 1587
Actio Tertia Trebonce Generlis
Diaries, April 4, 1587 to May 23, 1587
Jesus, Omnzpotens sempiterne & une Deus
Diaries, March 20, 1607 to September 7, 1607
[ 82 J
Selected _lf
Bodeleian MS. 98.
Another manuscript '-e -
Bodleian Library IS. e
In English Welsh and
written in the 16th cen
and poems, and \Yelsh -
qui intitulatur Ordinal
preface. beg. 'Liber iste
in Persons three': the text
archimaystrye': ortons
John Dee.
Collation of his printe
MSS. by Elias Ashmole.

F vel Tuba Veneris.
f&2.

sarate books, viz.;
Sovalisque
1583
,A Jfortlaco
March 13, 1584
j.ejusdem
s. 1584
atici
l1584
to tici
1584
us Praaterea Pro mium
l 15, 1584
Casareusque
r 8,1584
i
.arch 20, 1585
m _\fysteria Stephanica
6. 1585
r

ber 6, 1585
F crdus Sabbatismi
21, 1587
l 1587
Js
mber 7, 1607
i
!
Selected Manuscript Bibliography.
Cotton Appendix MS. XLVI.
Elias Ashmole's copy of Dee's 'Spiritual Diaries'
Bodleian Library MS. Add. C. 194.
Paper. viii + 88 pages. In Latin. written in more than one hand.
Catalogus Librorum Bibliotheca (xterna) Mortlacensis D Joh.
Dee, a 1583 6 Sep. This is a list of bound books, both printed
and manuscripts, in Dr John Dee's library at Mort-lake. It is
probably a copy of Trinity College Cambridge MS. 0. iv.20,
or British Librar MS. Harley 1879. Almost all the MSS are
marked 'T' or 'Fr'. Pp 12b -e should follow p. 44, but only 145 of
the MSS. are here described, some leaves being lost at end.
Bodeleian MS. 908.
Another manuscript version of Dee's Aldaria sive Soyga.
Bodleian Library MS. eMus. 63 (3652).
In English Welsh and Latin. Comprised of two manuscripts
written in the 16th century in England. Alchemical treatises
and poems, and Welsh pieces. fl.; Liber T[ome] N[orton]
qui intitulatur Ordinale secretorum, with a Latin and English
preface. beg. 'Liber iste Clericis', 'To the honour of God one,
in Persons three': the text beg. 'Maystrye full mervellous and
archimaystrye': Norton's Ordinall, with notes, partly by Dr.
John Dee.
Bodeleian MS. 8465aa.
Collation of his printed actions with spirits with the original
MSS. by Elias Ashmole.
[ 83 J
Libellus Vneri Nigro Sacer vel Tuba Vneris.
Bodeleian MS. 8460.
Papers concerning the actions (Ashmole).
Bodeleian MS. 8461.
Papers concerning the actions (Ashmole).
Bodeleian MS. 8462.
Papers concerning the actions (Ashmole).
Bodeleian MS. 48 7.
Notes from his fffth book of Mysteries (Ashmole).
Ashmole MS. 422, art. 2.
Notes copied by Elias Ashmole from Dee's fifth Book of
Mysteries.
Ashmole MS. 423, f. 294.
A transcript of some notes Dr. Dee had entered in Stofer's
Ephemerides, beginning 1543 and ending 1556.
Ashmole MS. 487.
The Ephemerides Nova of Johannes Stadius with Dr. Dee's
marginalia, between January 1577 and December 1600.
Ashmole MS. 488.
The Ephemerides Calestium Motuum of Io. Antonius Magin us
with Dr. Dee's marginalia, between February 1585 and March/
April 1601.
[ 84 J
Selected
Ashmole MS. 580.
Elias Ash mole's tr
Rehearsal with notes
Ashmole MS. 1788.

Various papers relatng

Ashmole MS. 179.
Ash
J
ole' s obsenari
magical work.
'l
Harleian MS. 6986. f
'
Doctor Dee's letter to
of the Spanish .-rmad

I
l
wl Tuba Vneris.
lle).
I
ile).

le).
f

j (.-shmole).
I
I
Dee's ffth Book of
L.entered in Stofler's
556.
t

adis with Dr. Dee's
..December 1600.

u lo . . -ntonius Magin us
ary 1585 and March/


Selected Manuscript Bibliography.
Ashmole MS. 580.
Elias Ashmole's transcription of Dr. Dee's Compendious
Rehearsal with notes and cross-references.
Ashmole MS. 1788.
Various papers relating to the action, compiled by Ashmole.
Ashmole MS. 1790.
Ashmole's observations and recollections concerning Dee's
magical work.
Harleian MS. 6986, fo. 45.
Doctor Dee's letter to Queen Elizabeth regarding the defeat
of the Spanish Armada.
[ 85 J
I
t
'
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FACSIMILE REPRODUCTION
MANUSCRIPT FHB 510
Reproduction i Warburg Manuscript FHB 510.
[ 87 J
[ 8 8 J
u o _ z p n p o . . u h
s . Z . l J U f v q n J p a . l J : V S o . 2 Z N _ l . l J U f s n
z z
a q _ r l
vel Tuba Vneris.
Reproduction of Warburg Manuscript FHB 510.
[ 89 J
[ 0 6 J
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f o u o
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p
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Reproduction of Warburg Manuscript FHB 510.
[ 91 J
[ 0 6 J
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[ 93 J
[ > 6 J
f u o _ p n p o . H
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[ 95 J
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[ 101 J
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[ 105 J
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f u o _ z p n p o . y
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[ 107 J
[ 8 0 1 J
f u o _ z p n p o . H
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Reproduction of Warburg Manuscript FHB 510.
[ 109 J
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[ 111 J
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[ 113 J
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[ 115 J
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[ 117 J
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[ 119 J
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