Re-posting this because I finally got to scan it in high-res.
Betty Bates is a goddamn hero.
—“Betty Bates, Lady-at-Law” in Hit Comics #47 (1947)
:D
<3 I LOVE HER <3
Monterey Bay Aquarium
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will byers stan first human second

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Love Begins
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we're not kids anymore.

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Lint Roller? I Barely Know Her
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Kaledo Art
Claire Keane
almost home
he wasn't even looking at me and he found me
I'd rather be in outer space 🛸
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@rootsandherbs
Re-posting this because I finally got to scan it in high-res.
Betty Bates is a goddamn hero.
—“Betty Bates, Lady-at-Law” in Hit Comics #47 (1947)
:D
<3 I LOVE HER <3
Where is that vine of that girl doing Ariana Grande and she says oh my god where is my coffee?in a deep ass voice????
WHERE IS SHE??????!
[AIRHORN]
oh my god
I was asked to create an exorcism kit as a gift. I think I met the challenge.
In order:
Lunar Water Created beneath a full moon for the cleansing and consecration of objects, spaces and beings.
Waters of Dispersion A formula from the Ars Philtron, “With it disperse noxious spirits and flocculum abomini.”
Waters of Severity Also from the Ars Philtron, “A Compound Water for Exorcism in instances of stubborn hauntings.”
Ash and Herb Salts For the exorcism of spirits, protection and the breaking of curses.
Iron Salts of Negation For the warding, disruption and disabling of paranormal entities.
My take on a demon bowl and a desert rose selenite, to work in conjunction. The bowl binds while the desert rose transmutes malicious energy and returns it to the earth.
~The Basics of Potion Making~
Many have heard of potions but aren’t sure about the making of a potion and what it Intel’s. a potion may represent an abstract quality, or inspire the mind to some significant awareness, or sooth the body to a state of well being, according to their concoction. When making a potion one has to put into account the meaning and use of the herbs used in the creation.
The creation of a potion can be as simple as making tea to as difficult as baking a soufflé . With potions there is an array of ingredients and magical correspondences one can use.
•Herbs -medicinal qualities -magical qualities •crystals •alcohol •water •tinctures • time of day •day of the week •planetary correspondences •elemental correspondences •lunar phase
There are a few different directions you can go in the making of a potion.
Tincture (Philters) potion
First crush the herb material with a mortar and pestle .
With the creation of a tincture you use a large mason jar and fill it 3/4 full of the chosen herbs then full the remaining space with 70 proof alcohol (vodka or rum). Then keep in a dark place for two weeks shaking it twice daily. After the two weeks strain out the plant matter and keep the remaining liquid in a dark bottle.
~when you wish to use it. Use a dropper and mix 2 drops of the condensed liquid to a cup of distilled water.
Crystal Elixir You can make a crystal elixir in your water bottle for the day for example for healing your can add amethyst, carnelian and agate or you can add crystals to your herbal potions the same way as the water method. Tho you can’t add any crystal because some crystals are poisonous, I suggest that you do thorough research on the crystals you choose to use. So you don’t accidentally Poison your self. –Steep a stone in water for a measured amount of time in sunlight or moon light. You may leave the stone in the liquid and renew the fluid as necessary. Make sure the stone is scrubbed clean and rinsed well before you use it. Also make sure you have cleansed the stone of any foreign energy by any chosen method.
Herbal Elixir –An herbal elixir is a liquid that contains properties of planetary energies, because of the inclusion of herbs possessing the chosen plants equivalent vibrations. In an elixir, the herbs are blended with the physical, astral, and spiritual which all three levels are balanced. Thus all three are affected when the elixir is used. An alcohol based substance such as brandy in which you will place the herbs to extract the “sulphur” (astral qualities of the herb).
-How To: —Place 1 pint of brandy in a small enamel or glass sausepan and bring to a simmer. Simmer with the pan covered until you have reduced the liquid alcohol by half. Then turn the heat off.
—Pour the reduced alcohol into a dark, wide mouth jar. Now add 1/2 cup of your chosen dried herbs or 1 cup fresh herbs to the reduced alcohol in the jar and seal it. The alcohol is considered “mercury” (spiritual qualities of the herbs used)
—Keep the herbs and alcohol in your sealed jar in a slightly warm place for about 2 weeks.
—At this point strain the mixture until it is clear and has no particles of herb left in it.
— take the herbs that you have strained out for the last step in the process( store in a dark wide mouth jar) allow the herbs to completely dry . This may take a few days. When they are dry, place them in a fire resistant dish and ignite them. Allow the herbs to burn to ash.
–Next place the ashes in their fire resistant dish over the low flame of a Bunsen burner and heat the ashes to a red glow while grinding them occasionally. This produces “salt” (Physical qualities of the herb)
–mix the “salt” back into the liquid in your dark jar and store the mixture again in its worm place. Let it sit for another 2 weeks.
–after that time, pour the liquid off, leaving the solid matter in the jar and seal it. –allow it to sit another 2 weeks then open the jar and allow any moisture to evaporate. –after the elixir completely drys scrape it into an air tight container.
—you can certainly save the liquid that you removed from the solid matter and use it in a bath, or discard it, you may pour it into a running stream to disperse your desires into the univers.
~when you wish to use the elixir , mix 1/4 tsp of dry elixir with 2 cups water and take it internally over a weeks period prior to your magical working.
Fluid condensers An herbal condenser is not dimple to prepare than an elixir but can be used in similar ways.
–first take a large handful of an herb or herbal combination and place it in a small glass or enamel pot. Cover the herbs with distilled water. –let the mixture simmer for 20 minutes with the pot covered. Turn off the heat and allow your mixture to cool, leavening the pot covered. –when it is cool, strain out the herbs and return the liquid to the pot again. Summer with the lid on until the liquid has boiled down to Half. – cool the liquid again and mix it with grain alcohol equal to the volume of the liquid. –now add 10 flakes of gold and stir. Bottle it in a dark amber or blue bottle to keep any light from touching the liquid and store in a cool dark place.
~when your wish to use the condenser, shake it first, then drink a liqueur glass full each day for a week prior to your rite.
—When you wish to begin your potion making I suggest that you put lots of thought into your process, so you can work the herbs powers to there extent. The day , the time, the amount, and the season all play rolls in this art.
• if there are any questions my ask is always open.
~The Darkest of Lights
Sources: Arin Murphy Hiscock Scott Cunningham Karen Harrison Ann Moura
Making Infused Oils!
There are 2 methods to preparing Infused Oils – Hot Infusions and Cold Infusions
Cold Infused Oil:
“The Folk Method”
Grind the dried herb to as fine a powder as possible.
Place the powdered herb in a jar that can be capped tightly and add a fixed oil of your choice. Use enough to completely wet the herb.
Stir the mixture well.
Let the herb settle, then add enough oil to cover the wet herb an additional ¼ inch thick (about 1 cm). Some lighter herbs will float to the surface, so let there be an additional ¼ inch below the herbs.
Many dried herbs will absorb this extra ¼ inch of oil. Check your mixture 24 hours later, and if absorption has occurred, add enough oil to re-establish the extra measure of oil.
Cap the jar tightly.
Place it in a thick paper bag or box to keep light out, and place in the sun for 7 to 10 days (a warm to hot infusion, depending on the weather).
Shake or stir the mixture every couple of hours each day or at least several times a day.
When the infusion is completed, strain the oil from the herb and press the remaining pulp.
Allow the infusion to sit still for several days, then decant and filter out sediment.
Bottle in glass containers, cap tightly, and store in a cool dark place.
Hot Infused Oils:
Add 250g dried, or 500g fresh, herb to 750mL Fixed oil.
Stir the chopped herb and oil together in a bowl over a saucepan of boiling water. Cover and simmer gently for 2-3 hours.
Remove from the heat and allow the mixture to cool, then pour into the bowl through the muslin cloth. Collect the strained oil in the bowl, pressing all the liquid out of the herb.
Pour the infused oil into clean dark glass bottles, using a funnel. Seal and label the bottles.
——-
I have made rosemary, basil, lavender, thyme, eucalyptus, chamomile, peppermint, plantain, and comfrey infused oils. I add these infused oils to all my homemade body care products and shampoos! They are really easy to make. I have experimented with different oils but I usually use olive oil as it is easy to come by! Enjoy these notes!
An intriguing document proving the everyday use of witchcraft in earlier times has come to light in Cornwall.The handwritten spell advises anyone dogged by the ill-thoughts of enemies to fill a jug…
The CABAL Project: ARTIST of the Month.
Hollie Anderson is a Genius of Ritual Art. Her work has this intoxicating realness that draws you into each piece, with each Figure telling its own journey and embodying its true purpose.
The first piece is one of the Artists favourites; “homage to souls lost”. This piece speaks of a sigh of sorrow; it has an appearance of being bound in its longing for what has been lost, and you can feel the raw emotions when viewing the piece, with each small detail adding to its story.
The next two Pieces are what I see as an incubation of Hollies’ ideas; her charcoals are reminiscent of Ultrasounds, the viewings of the beginnings of life, birth and the forming of the Figurative pieces. “I always talk to my pieces; I’m always excited when they talk back. Except when they have attitude problems” beautifully sums up a deep insight into Hollies mind, and ideas present in her illustration.
The Red String of Fate, the Four Little Folk , and the Hokō style figure, bearing the Norse rune sigil Aegishjalmur on its chest, are just a few amongst many pieces that Hollie has formed over her four years of research, carving out a unique style that stands out as genius.
"I first began making dolls and figures when all of my own were lost during a fire. I remember mourning more than just the items themselves; I felt the loss of the stories and cultures I had created whilst playing with them, and their friendship. As I grew older I never stopped playing and imagining, which grew into a love of comics and graphic novels. I spent my early art education in Bristol creating characters which lived inside pages and could be spoken to and played with this way. When I came to study my degree in Contemporary Applied Arts at Hereford College of Arts I played with the idea of translating comics into textiles, but I found that it was not the comics I wanted to create, but the living beings I nurtured inside of them. My own longing for companionship in these imagined worlds and the intensity of my belief in their reality on some plane caused me to research the history of our relationship with figures. The dolls I have created since are the accumulation of this research, including my dissertation, into the use of dolls and figures in the religious and superstitious history of cultures spanning worldwide, from Finland to Osaka. After finding that the same symbols and idioms occur repeatedly through almost every belief system I developed a visual language of my own, with a little help from Carl Jung and his theories on psychological archetypes, which incorporates these themes in the hope that the figures can speak to everybody they meet. It is made of the world’s language, the little niggles that humanity has caught on to and created superstitions around for all of time. Each figure does their own job, be it an encouragement for those fighting a tough battle, or a smile for those who are in desperate need of one, or a moral compass for those who get lost all too often. I use symbols, herbs, colours and materials which are imbued with multi-cultural history and intent, such as the peacock feather - a symbol of perseverance and prosperity to the Buddhists, as the peacock is seen to eat only a diet of poisonous plants and yet remains beautiful, and also a symbol of protection in Mediterranean cultures because of its resemblance to the Evil Eye. Their body shapes and arms and legs derived from antlers. Freud said that to dream of antlers means that you feel someone is in total spiritual or physical control over you. After researching the superstitions around dolls, especially in Japanese Shinto, where a doll is thought to be the perfect temporary home for a spirit god (or Kami) this is exactly how I believe it must feel to be one of these figures. So powerful, yet also so completely vulnerable, relying completely on the love of strangers to survive. I liken it with the feeling of seeing a lost child’s toy on the ground and knowing that something so truly loved is now completely alone. I believe that figures and dolls are given power by the relationships we foster with them.”
Sacred Geometry - a concept in art
9 ff. of paper (watermark: armoiries, écu avec pal arqué, en haut coupé en forme de nuage, not identified), complete (collation i(8+1)), written in a single hand on 18-23 long lines in brown ink in a cursive hand (justification c. 130 x 170 mm.), with seven pen and ink drawings and 28 diagrams. Modern binding, with title “L / ..ro / Graf” (In good condition throughout). Dimensions 200 x 160 mm.
Of a modest appearance, this small manuscript, written in cursive script and illustrated with meticulous pen and ink drawings, is most likely a manual for the composition of talismans or seals perhaps for use by a physician-alchemist. Its pages present a combination of astrological seals with diagrammatic talismans in Greek and Hebrew letters along the lines of those created by Agrippa and Paracelsius.
PROVENANCE 1. Unidentified alchemist who has corrected several of the figures. The annotations translate some of the Latin expressions, leading us to believe that the original owner who used the manuscript was not well versed in Latin.
2. Private Collection, Europe.
TEXT f. 1r-1v, Title, “De sigillo Lunae”; incipit, “Daß sigillum [symbole] ist calculirt und genommen aus dem ersten Himmel Schmaym. Diß soll gemacht werden wenn luna regiret in ihrem Lage und Stunde … die Räucherung ist mastix, aloës und weißer Sanndel”;
ff. 2v-3r, Title, “De sigillo Martis”; incipit, “Dieses Sigill ist genommen ex sphera quinta Macheim genandt, soll gemacht werden in seinem Tag und Stunde, gegossen ex venere Martis … mit Sandel und Pfeffer”;
ff. 3v-4r, Title, “De charactere Mercurii”; incipit, “Dieses Sigill ist genommen ex sphera secunda, soll gemacht werden in Tage und Stunde Mercurii, und ist auf dieses Planeten hochachttung zu geben … dieses Siegel vermag nach viel anderer Dinge, so dem Beitragenten in der Zeit vor sich selbst wirdt offenbahr warden”;
ff. 4v-5r, Title, “Sigillum Jovis”; incipit, “Dieses Sigill ist genommen ex Sphaera sexti coeli, Oebuel genandt. Dieses ist ein vortrefliche Sphera zu aller Gottesfurcht … alles was lieblich reuchtt”;
ff. 5v-6v, Title, “De sigillo Solis”; incipit, “Daß sigillum ist genommen ex spahera 4. Coeli und sindt signa Angelorum so da herschen uber den 4. Himmel, Machon genandt … mit Sammet uberzogen undt also getragen”;
ff. 7r-7v, Title, “Sigillum Veneris”; incipit, “Dieser Character und Nahmen ist ex coelo tertio, soll gemacht werden wann Venus ist im Zeichen Tauri oder Libra, ist gar gut … sonsten werden sie in virtutibus corrumpirt”;
ff. 8r-8v, Title, “De sigillo Saturni”; incipit, “Dieses Sigill und nomina sindt genommen aus dem 7. Himmel oder Sphaera Saturni, oder Machator genat, soll gemacht werden von Bley oder auf jungfrauen Pergament … mit sammet uberzogen und also getragen warden”;
This manuscript belongs to the tradition of German esoterica with a particular importance accorded to the asters and the planets for their use in natural magic. The characteristics and magical powers of the planets are in effect called to manifest themselves and amplified by graphic representations and by the creation of metal talismans or on blank parchment. These talismans, called “seals” in the estoteric tradition or “astrological images” in historical studies, are more than just medical amulets: the astrological seal, being engraved at the moment when the planet or constellation is astrologically dominant, is said to appropriate the power of this constellation and finds itself on the border between astrology and magic.
The astrological images encountered most frequently in medicine are the zodiacal seals, in particular the seal of the lion, utilized against the problems of the kidneys, of which doctors as prestigious as Arnold of Villanova and Pietro d’Abano made use in their practice. In 1301, Pope Boniface VIII was spectacularly cured of his kidney problems thanks to Arnold of Villanova’s use of the seal of the lion. The presence of similar seals in the inventories of the belongings of doctors and the explicit mentions in Arnold’s works attest to the use of such seals (see Delmas, 1976, and Agrippa, 1967, pp. 719-727), even if their importance should not be overestimated before the fifteenth century, which marks a turning point.
Between 1426 and 1428 at the faculty of medicine at Montpellier a polemic broke out over the question of the medical use of the seal of the lion. Jean Gerson was invited to judge and he condemned the use of the “talisman.” The appearance in 1489 of De Vita of the Florentine physician and philosopher Marsilius Ficino rescued the “science of images” with Neoplatonism, which reinforced the “natural” justification. The Valencien physician Jerome Torella, who makes use several times of Ficino (without citing him), wrote an Opus praeclarum de imaginibus astronomicis (1496), which offers the most complete assessment of this question and which he dedicated to King Ferdinand the Catholic. The tradition is taken up again and augmented by the German esoterics: well attested in the works of Agrippa de Nettesheim (De occulta philosophia, Bk. II, ch. 22-23, ed. Nowotny, 1967, pp. 157-167), it is found again in the Archidoxe magique, a work published under the name of Paracelsius at the end of the sixteenth century. In this last work, each of the twelve astrological signs appears as a double-faced talisman, bearing the signs and the Greek and Hebrew letters, while the planets have a talisman composed of a representation in human form on one side and a magical square on the other. These signs differ considerably from those described and used by Arnold of Villanova.
The magical squares associated with the planets take up an old Arabic tradition known in the West from around 1400 and of which the squares, with some variation, are more or less identical (see Vienna, Österreichische Nationalbibliothek, Cod. 5239, fol. 147v-149r). They are not however mentioned by the Veterum sophorum sigilla et imagines published in 1612 (description of the human figures on pp. 32-34 and of the metals on pp. 49-50) whose attribution to Johann Trithemius is doubtful (see Arnold, 1991, p. 259). This form of talisman is taken up again by Heinrich-Cornelius Agrippa and differs from the simple “signatures of the planets” as they are described by Johann Rudolph Glauber.
In the present manuscript, there are several talismans for each planet and for the sun, with five faces for each planet. The representation of the planets in the form of divinities with human figures comes last and alone. Two double-faced talismans precede them: the first modeled on the zodiacal talismans; the second comprising the magical square. These magical squares and representations of the divinities are identical to the Paracelsian talismans (magical squares of the same number of columns and of the same numbers, representing respectively the indications in the text).
The second talisman comprises several esoteric signs that we find in the pentacles and seals contained in certain editions of the Key of Solomon (ed. A. Savy, 1976). They differ largely from the “pentacles” and seals constructed, often in a geometric manner, represented in the manuscript and printed traditions of the Key of Solomon at the end of the work (see ed. Mathers, 1888; Lévi, 1895; Ribadeau Dumas, 1972), but combine on the other hand the characters, letters, and seals of the angels, the spirits and the planets that are found at the beginning of the work.
The face of the second seal, which comprises the magical square on the reverse, is related to seals utilized in magic for invoking and conjuring the devils (see Grimoire du pape Honorius) even if the forms and the principles are very different. The collection described and represented at the end of the seventeenth century in the works of the Strasbourg author Julius Reichelt is, on the contrary, very close (pl. III et IV, ill. Agrippa, 1967, p. 717-718). They take up the Pseudo-Paracelsian medals with their figuration under human form and magical square, but show also the use of other signs for the planets. The work of Julius Reichelt proves however that the talismans became an object of archeological curiosity, and it seems that their attraction as a medical object decreased. This manuscript, by its date and its fabrication, seems to be most probably a practical handbook accompanying a medical alchemist for the realization of astrological seals.
ILLUSTRATION For each planet, three talismans are represented: First, there is the planetary signature on the recto and the seal of the planetary angel on the verso (see Marquès-Rivière, 1938, p. 283); the whole is accompanied by symbols of the zodiacal and planetary signs. For Mercury, recto and verso are reversed and the name “Michael” is placed for “Raphael” which the seal represents. The seal of Anael, the planetary angel of Venus, is placed for the sun and barre a tort in the representation of the talisman of Venus where the name Anael is curiously replaced for Raphael. Second, there are on the recto a square with the signs of the plants and constellations and a name. The first and the last signs are those of the planets. On the verso we find the magical square of the planet. For the moon, the magical square is associated with a representation of the moon in human form, and the recto of the second seal is missing.
f. 1v, Seal of the Moon: Phul, Malcha (diameter 30 mm.);
f. 1v, Seal of the Moon: Gabriel, spiritus timoris (diameter 30 mm.);
f. 2r, Seal of the Moon: Luna, representation of the moon in the form of a nude female on a crescent and holding a crescent, the figure placed in a square inscribed in a circle) (diameter 68 mm.);
f. 2r, Magical Square of the Moon, whose sum is 369 (diameter 68 mm.);
f. 3r, Phalec, Graphiel (diameter 43 mm.);
f. 3r, Camael, spiritus consilii, Samael (diameter 43 mm.);
f. 3r, Namarail (diameter 45 mm.);
f. 3r, Magical Square of Mars, whose sum is 65 (diameter 56 mm.);
f. 3r, Martis, representation of Mars in the form of a standing warrior arms, with a star above his helmet (diameter 54 mm.);
f. 4r, Michael (diameter 44 mm.);
f. 4r, Ophiel, Tiriel, Michael spiritus pietatis (diameter 44 m.);
f. 4r, Mercurius, representation of Mercury in the form of a winged man with a star on his forehead and a caducee in his right hand (diameter 42 mm.);
f. 4r, Amynnper (diameter 47 mm.);
f. 4r, Magical Square of Mercury, whose sum is 260 (diameter 90 mm.);
f. 5r, Betor, Jophiel (diameter 44 mm.);
f. 5r, Sachiel (corr. Zadkiel) spiritus intelligentiæ (diameter 44 mm.);
f. 5r, Lachlim (diameter 45 mm.);
f. 5r, Magical Square of Jupiter, whose sum is 34 (diameter 45 mm.);
f. 5r, Jovis, representation of Jupiter in the form of a standing bearded man reading, a star over his head (diameter 54 mm.);
f. 6v, Och, Michiel (diameter 47 mm.);
f. 6v, Raphael spiritus fortitudinis (diameter 46 mm.);
f. 6v, Math neceil (diameter 58 mm.);
f. 6v, Magical Square of the Sun, whose sum is 111 (diameter 59 mm.);
f. 6v, Sol, representation of the Sun in the form of a man seated on his throne, legs nude with a scepter and a lion lying at his feet (diameter 42 mm.);
f. 7v, Hagit, Haniel (corr. Hagiel) (diameter 47 mm.);
f. 7v, Haniel, spiritus scientiæ ; Anael (corr. Raphael) (diameter 47 mm.);
f. 7v, Bechomidin (diameter 63 mm.);
f. 7v, Magical Square of Venus, whose sum is 175 (diameter 67 mm.);
f. 8v, Aratron, Zazel (corr. Agiel) (diameter 47 mm.);
f. 8v, Zaphkiel, spiritus sapientiæ ; Cassiel (diameter 47 mm.);
f. 8v, Arelail (diameter 49 mm.);
f. 8v, Magical square of Saturn, whose sum is 15 (diameter 50 mm.);
f. 9r, Saturnus, representation of Saturn as an old man tilling the earth with a star above his head (diameter 51 mm.);
f. 9r, Magical Square of Saturn, whose sum is 25(diameter 51 mm.);
f. 9r, Venus, representation of Venus as a scantily dressed woman, a star over her head, holding a lute and accompanied by a Cupid (diameter 51 mm.);
Hebrew Magic Square. ManinMink 2013
"Truth, Death, Binding".
This was inspired by the Hebrew Golem Mythology, In which the word Truth or Emet would be inscribed upon the Golem to bring it Life, and to take that Life away the letter Alef would be etched away forming the word Met or Death, taking that life away.
I saw another alternative, a Binding or Asar by the alteration of the letter Mem into Samekh and the letter Tav into Reish.
I will fully admit my Hebrew is basic, and this arrived from a coincidence of a design research into Hebrew letter forms, but by instinct I believe that this is correct and is an interesting experiment into an alternative solution of the Golem Mythology.
The 30,000-Year-Old Cave That Descends Into Hell
There’s a cave in France where no humans have been in 26,000 years. The walls are full of fantastic, perfectly-preserved paintings of animals, ending in a chamber full of monsters 1312-feet underground, where CO2 and radon gas concentrations provoke hallucinations.
It’s called the the Chauvet-Pont-d’Arc Cave, a really weird and mysterious place. The walls contain hundreds of animals—like the typical Paleolithic horses and bisons—but some of them are not supposed to be there, like lions, panthers, rhinos and hyenas.
A few are not even supposed to exist, like weird butterflyish animals or chimerical figures half bison half woman. These may be linked to the hallucinations. The trip is such that some archeologists think that it had a ritual nature, with people transcending into a new state as they descended into the final room.
In fact, the paintings themselves are of such sophistication—some even have three-dimensional relief—that is hard to believe they were made back then. However, radiocarbon dating shows that these paintings are indeed prehistoric: A group was made around 27,000-26,000 years ago and the other at 32,000-30,000 years ago.
.. by *hoooook
Thus it is useless to ask a Magician if God, angels or demons ‘really exist’. Simply by saying the words, you have made them exist. Ask again whether these abstract entities can produce any effect on the physical world and they already have — they have caused you to ask questions.
Ramsey Dukes Magus (via his-dark-side)
Bronze hand used in the worship of Sabazios (British Museum). Roman 1st-2nd century CE
Hands decorated with religious symbols were designed to stand in sanctuaries or, like this one, were attached to poles for processional use. Sabazios (Ancient Greek: Σαβάζιος) is the nomadic horseman and sky father god of the Phrygians and Thracians. In Indo-European languages, such as Phrygian, the -zios element in his name derives from dyeus, the common precursor of Latin deus (‘god’) and Greek Zeus. Though the Greeks interpreted Phrygian Sabazios with both Zeus and Dionysus, representations of him, even into Roman times, show him always on horseback, as a nomadic horseman god, wielding his characteristic staff of power.
Spiropath —
The magic circle is a point that is eternal, the replication of the point of will an eternal line that creates the circle, the circle is the world within the world.