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the
Secret Temple

Construction of a Personal Teniph

and Magical instruments in
the Western Esoteric Tradition

ROBERT WANG

SAMUEL WEISER N E W YORK

 CONTENTS

1. Preface, 1

PART I The Instruments

2. The Lotus Wand, 11
3. The Rose Cross Lamen, 19
4. The Sword, 29
5. The Fire Wand, 33
6. The Water Cup, 37
7. The Air Dagger, 41
8. The Earth Pentacle, 43

PART II The Temple

9. The Temple, 51
First published in 1980
10. The Altar, 55
Samuel Weiser, Inc. 11. The Lamp, 58
740 Broadway 12. The Censer, 59
New York, N.Y. 10003 13. The Cross and Triangle, 61
14. The Pillars, 63
© Robert Wang 1980 15. The Temple Diagram, 73
16. The Banners of the East and West, 79
ISBN 0-87728-490-3 17. The Enochian Tablets, 83
18. Robes, 89
Printed in the U.S.A. by
Noble Offset Printers, Inc.
Notes on Consecration, 91
New York, N.Y. 10003
Recommended Reading, 91

Dedicated to Israel Regardie,
w h o has shed Light on the Path,
for all of us.
Ackn owledgmen ts
Thanks are due to Timothy Miles, whose advice has greatly in-
fluenced the form and content of this book. Moreover, a large
measure of appreciation is owed to Donald Weiser and to my
editor, Gale C o u r e y , b o t h of w h o s e kind s u p p o r t , en-
couragement, and always wise criticism, makes authorship a
pleasant task.
1 / Preface
This is a practical book. It is intended for those who feel a
natural inclination toward ritual, and who are willing to expend
the special effort required to produce a full set of magical in-
struments and a personal Temple. The very act of developing
the Wands, Cup, Tablets, etc., is a devotional one which may
lead the student to an inner mainstream. It is a form of sacrifice.
The instruments and Temple described herein are those
specified by the Hermetic Order of the Golden Dawn. They are,
however, based on principles which have not varied over the
centuries. Particular to the Golden Dawn is its emphasis on the
four Elements, symbolized by the Wand, Cup, Dagger and
Pentacle. These instruments represent the component parts of
the personality, as is also represented by the five-pointed star of
Pentagram. In this figure the fifth point is that of Spirit.
Those w h o ascribe to the methods taught by Aleister
Crowley will experience few difficulties in adapting the mater-
ials in this book to his ritual practices, all of which grew from
the practices of the Order of the Golden Dawn. Crowley was
not very explicit, in his writings, about these instruments. In his
Equinox, Magick in Theory and Practice and Magick Without
Tears he discussed the subject without mention of the inscrip-
tions to be placed on the instruments. But for those who possess
the practical keys of the Golden Dawn, Crowley's work pro-
vides a dimension of insight which is unique.
THE SECRET TEMPLE / 2
His most useful advice is given in a letter to a friend,
published in Magick Without Tears:
Let us consider what one can do with an
ordinary house. . .
First of all, it is of immense advantage to have a
room specially consecrated to the Work, never used for
any other purpose, and never entered by any person
other than yourself, unless it were another Initiate,
either for inspection or in case you were working
together.
The aura accumulates with the regularity and fre-
quency of Use.
The first point is the Banishing: Everything is to
be removed from the room which is not absolutely
necessary to the Work. . .The walls should be 'self-
coloured,' a neutral tint-green, grey or blue grey? — and
entirely bare, unless you put up in the proper quarters,
the proper designs, such as the 'Watch Towers.' . . .
Next, your Circle. The floor ought to be 'Earth' green;
but white will serve, or black (A Masonic carpet is not
at all bad.) . . .The Altar must fit exactly the square of
Tiphareth; it is best made as a cupboard; of oak or
acacia, by preference. It can then be used to hold
reserves of incense and other requisites.
Note that the height of the Altar has to suit your
convenience. It is consequently in direct relation with
your own stature; in proportion it is a double cube. This
then determines the size of your circle; in fact the entire
apparatus and furniture is a geometrical function of
yourself. . . .Next, the Lamp. This may be of silver, or
silver-gilt (to represent the Path of Gimel) and is to be
hung from the ceiling exactly above the centre of the
Altar. There are plenty of old church lamps which serve
very well. The light is to be from a wick in a floating
cork in a glass of olive oil. . . It is really desirable to
make this as near the 'ever burning Lamp of the Rosicru-
cians' as possible; it is not a drawback that this implies
frequent attention.
N o w for the Weapons!
Preface / 3
The Wand. Let this be simple, straight and slim!
Have you an Almond or Witch Hazel in your garden
. . .? If so, cut (with the magic knife. . .) a bough, as
nearly straight as possible, about two feet long. Peel it,
rub it constantly with Oil of Abramelin. . .and keep
wrapped in scarlet silk. Constantly I wrote, and meant
it; rub it, when saying your mantra, to the rhythm of
that same.
. . .The Cup. There are plenty of chalices to be
bought. It should be of silver. . .
The Szoord. The ideal form is that shown in the
Ace of Swords in the Tarot. At all events, let the blade
be straight, and the hilt a simple cross.
. . . The Disk. This ought to be of pure gold,
with your own Pantacle, designed by yourself after pro-
longed study, graved thereupon. While getting ready for
this any plain circle of gold will serve your turn. Quite
flat, of course. If you want a good simple design to go
on interim, try the Rosy Cross or the Unicursal Hex-
agram.
So much for the Weapons! Now, as your per-
sonal accoutrements, Robe, Lamen, Sandals and the
like, The Book of the Law has most thoughtfully sim-
plified matters for us. 'I charge you earnestly to come
before me in a simple robe, and covered with a rich
head-dress.' (AL, 1:61) The Robe may well be in the
form of a Tau Cross . . . The best head-dress is the
Nemyss . . . you can easily make one yourself out of
silk; broad black and white stripes is a pleasing design.
Avoid 'artistic' complexities.
I feel moved to add a line of caution and encour-
agement . . .
Just as soon as you start seriously to prepare a
place for magical Work, the world goes more cockeyed
than it is already. Don't be surprised if you find that six
weeks intense shopping all over London fails to provide
you with some simple requisite that normally you could
buy in ten minutes. Perhaps your fires simply refuse to
burn, even when liberally dosed with petrol and phos-
phorus, with a handful of Chlorate of Potash thrown in
THE SECRET TEMPLE / 4
just to show there is no ill feeling! When you have
almost decided that you had better make up your mind
to do without something that seems really quite unob-
tainable — say, a sixty caret diamond which would look
so well on the head-dress — a perfect stranger comes along
and makes you a present of one. Or, a long series of
quite unreasonable obstacles or silly accidents interfere
with your plans: or, the worst difficulty in your way is
incomprehensibly removed by some extraordinary
'freak of chance.'
In a word, you seem to have strolled into a world
where, well, it might be going too far to say that the
Law of Cause and Effect is suspended; but at least the
Law of Probability seems to be playing practical jokes
on you.
This means that your manoeuvres have some-
how attracted the notice of the Astral Plane: your new
neighbours (May I call them?) are taking an interest in
the lastest Tenderfoot, some to welcome, they do all
they can to help you to settle down, others indignant or
apprehensive at this disturbance of routine. This is
where your Banishings and Invocations come to the
rescue. Of course, I am not here referring to the ap-
proach to Sanctuaries which of necessity are closely'
guarded, but merely to the recognition of a new-comer
to that part of the world in general.
Of course all these miracles are very naughty of
you; they mean that your magical power has sprung a
few small leaks; at least, the water is oozing between
some planks not sealed as Hermetically as they should
be. But oh — and this is naughtier still — it is blessed,
blessed comfort that they happen, that chance, coinci-
dence, and all the rest will simply not explain it all
away, that your new vision of life is not a dream, but
part and parcel of Experience for evermore, as real as
any other manifestation of Reality through sense such as
is common to all men.
Crowley did not deviate from the Golden Dawn methods
(in which he was instructed by Alan Bennett) until he had
Preface / 5
thoroughly mastered them. These methods are both safe and
sound, when followed to the letter, and are ideal for personal
development. The manufacture of these instruments and Tem-
ple is an exceptionally strong way to approach the western
esoteric Path. The reason is that the Golden Dawn, as opposed
to most other systems, offers a totally structured 'course of stu-
dies.' Yet this is a method from which one may branch out free-
ly once its principles have been understood.
While it is generally agreed that the most efficacious
tools for ritual are those created by the student himself, not
everyone is an artist or craftsman. Few today could follow the
strict early directions stating that one must forge his own sword
from solid steel! The important principle is that we do as much
as we can, because the instruments become charged as they are
made. The more effort expended, the more energy is attached to
each piece.
Many of these materials, such as the Sword, Dagger and
Cup, can be purchased ready to paint. O n e assumes true owner-
ship of an instrument by painting it with the appropriate God
Names and Sigils, and by its consecration. Those who lack time
or skill are advised to commission their instruments from pro-
fessional craftsmen, and then paint each piece as specified
herein. We are required only to do our best, and are assured
that the Gods will meet us half way.
One important point to consider is the extent to which
these instruments are a means to an end. It is all too easy to
become absorbed in the beauty and minutae of the tools, to the
extent that they acquire false importance. A plow is of no intrin-
sic significance except as it facilitates the tilling of the soil from
which new life will emerge. The Magical Instruments are impor-
tant in that they, too, facilitate a process leading to new life. But
they are not essential; they are helpful. As Crowley said: "All
sense and faculties must share in the work, such at least is the
dictum of Western Ceremonial Magic. And so we find the magi-
cian placing stone upon stone in the construction of his Temple.
That is to say, placing pantacle upon pantacle, and safeguarding
his one idea by means of swords, daggers, wands, rings, per-
fumes, suffumigations, robes, talismans, crowns, magic squares
and astrological charts, and a thousand other symbols of things,
ideas and states, all reflecting the one idea; so that he may build
THE SECRET TEMPLE / 6
up a mighty mound, and from it eventually leap over the great
wall which stands before him as a partition between two
worlds."
Unfortunately, some may believe that the construction
of a Temple, and the traditional instruments of the magician
will confer instant enlightenment and power of some sort. It
may be supposed that this is a relatively painless way to effect
entry into the Inner Worlds, which is not at all true. The
Magical Path is as slow and arduous as the Meditational Path.
Western ritual is admittedly theatrical. There is, in fact,
something very flambuoyant about the creation and use of the
magical instruments. But this is as it should be. Ritual and its ac-
coutrements offer a special focus of attention, drawing us in-
ward. An easterner may sit silently on the ground and invoke
the forces of nature with enviable simplicity. We, on the other
hand, must contend with an energetic environment working
against inner tranquility. Ritual helps us to transcend the
weighty dynamism of our culture. As one assumes the gold-
edged white robe, feels the slight weight of the Rose-Cross
Lamen around his neck, and begins to work with the tools of
traditional esoteric science, there is a feeling that one stands bet-
ween two worlds. It is as profound a feeling as that of a priest
preparing for the Christian Eucharist. And, of course, that is the
point: by preparing our instruments and Temple, we may, in a
lesser way, ordain ourselves into the priesthood of the Great
Work.
Ideally, one would belong to an Order, where the pre-
paration of these materials is part of the initiation of Tiphareth.
Yet far too many of today's so-called "Orders" (including some
established by very great occultists of the past) are of suspect in-
tegrity. Suffice it to say that if one is intended to work with a
truly enlightened group, it will find him. As the aphorism states:
When the student is ready, the master appears.
Individual work is more difficult, but it is possible today
thanks to publications of teachers in the Golden D a w n tradition
such as Israel Regardie, Aleister Crowley, Dion Fortune, Paul
Foster Case, Gareth Knight and W.E. Butler. Regardie's work,
The Golden Dawn, is the primary source book for the system in
which these instruments are used, and must be considered a life-
Preface / 7
time study. Moreover, this present book may make little sense
to those completely unfamiliar with Regardie's Golden Dawn.
Minimal Requirements
There are many people w h o can afford neither the time
nor the money for instrument construction, but who wish to
pursue magic in some way. For those a 'stripped-down' version
is possible, requiring little effort and virtually no craft skills.
Such instruments are unlikely to have the vitality of a more
sophisticated set, but they will allow ritual w o r k to be per-
formed.
The basic instruments are: The Wand of the Magician,
The Fire Wand, The Water Cup, The Air Dagger and The Earth
Tentacle.
THE W A N D OF THE MAGICIAN
This may be a piece of 3/4 inch dowel rod, approxi-
mately twelve inches long. It should be painted gold.
THE FIRE W A N D
This may be a piece of 1/2 or 3/4 inch dowel rod, ten
inches long, painted bright red.
THE WATER CUP
Any metal cup painted blue, or any blue glass cup would
be appropriate.
THE AIR DAGGER
Any knife or letter opener can be used, although a cross
piece at the hilt is desirable. The knife is painted bright yellow.
THE EARTH PENTACLE
This is a simple round wooden disc, approximately four
inches in diameter, painted black. Hobby shops, hardware and
lumber dealers often sell wooden circles of plywood.
The assembly and painting of these simple instruments
requires about four hours, and little cost. The suggestion is
made here to counter a common belief that magical tools are all
but impossible to produce. In fact, one makes a commitment to
THE SECRET TEMPLE / 8
the system according to his own needs. One who is highly
spiritually developed may not need to expend the effort to pro-
duce an elaborate set of instruments, although most people will
find that pouring great energy into this work is invaluable in
forming a link with the inner currents established by the Golden
Dawn. There is, in this, something of being willing to sweep out
the Temple before one is permitted to sacrifice at the altar.
A natural artist or craftsman may spend years producing
a beautiful and highly sophisticated set of instruments which is
personally appropriate. A n d again, these tools should be the
best we can do. They become extensions of ourselves which are
consecrated and, although they may be seen, must never be
touched by another.

Part I / The Instruments

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 3 / The Rose Cross Lamen

This is the second of the instruments to be constructed, and

from it are derived the Sigils painted on the other pieces. It is a
symbol which synthesizes all of the concepts of Rosicrucian phi-
losophy.
At the center is the Five-Petaled Rose on a golden cross.
This represents the Qabalistic principle of the four Elements
which are controlled, balanced and activated by a fifth: Fire
(Yod), Water (Heh), Air (Vau) and Earth (Heh final) describe
the constituent parts of the Personality, ruled by the Higher Self
of Tiphareth to which the gold cross is ascribed.
The Rose also stands for the entire manifest Universe. At
the highest level of the Tree of Life, Kether is the four Pri-
mordial Elements (unexpressed), set toward manifestation by
the power of the Unmanifest above the Tree. This principle is
explained fully in Regardie's Golden Dawn and in The
Qabalistic Tarot* by Robert Wang.
The twenty-two Hebrew letters around the cross are ar-
ranged according to the text of the Sepher Yetzirah: the three in-
ner letters are the maternals, from which all the other letters
(i.e., forces of the Universe) are derived. The middle circle con-
tains the simple letters, related to the seven ancient planets. The
outermost circle contains the double letters which are the signs
of the Zodiac. In all, the letters are the twenty-two mystical
Paths on the Tree of Life.
*Qabalistic Tarot. Samuel Weiser, Inc. New York, 1980.
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THE SECRET TEMPLE / 22
Cutting Out the Cross
While the Rose Cross Lamen can be cut from heavy card-
board, 1/8 inch plywood is preferable. This should be a hard-
wood, such as birch, which has a perfectly flat and smooth sur-
face. Soft building plywood may form ridges when sanded, and
should not be used.
1) Sand the board lightly, front and back, and coat with
gesso. In all cases where wood is used, both sides should be
sealed to avoid the possibility of warping.
2) When the gesso is dry, sand, apply a second coat and
sand again. Sanding should always be done with a sanding
block, or with sandpaper wrapped around a flat piece of wood.
3) Draw an outline of the Cross on the board.
4) With a coping saw, or an electric jig saw if one is avail-
able, cut around the outline of the Cross. A jig saw will keep the
edges at a sharp right angle. But, if this is being cut by hand,
care must be taken to maintain the straight cut of the blade. Ac-
cidental over-cutting is no disaster; errors are easily corrected.
5) After cutting there may be some small gaps in the sides
of the plywood. These can be filled with one or more coats of
gesso. Serious gaps or over-cuts must be filled with plastic
wood.
6) Coat the sides with gesso. Because of the absorbancy
of the end grain, several coats may be required to completely
seal the edges.
7) Sand the edges of the Cross.
Painting the Cross
As with the other wooden instruments, acrylic paints are
recommended. A very effective metallic gold paint is also avail-
able in artist's acrylic.
There is one media problem, however, which should be
considered: All paints tend to cure after a time, and new paint
applied over very old paint may not adhere properly. Thus it is
best that no more than a few days elapse between painting the
undercolors and the symbols. If paint has been allowed to cure
for some time, it should be sanded and repainted prior to adding
the details.
The Rose Cross Lamen / 23
The most exacting work can be done by those who are
comfortable using a ruling pen. The Pentagrams and Hexagram
can be drawn with great precision, using this tool and water
thinned paint (thick paint will not flow from the pen), although
two coats may be required for each line. The same technique
can be applied to any straight line on the Cross, such as the divi-
sions of the four Elemental colors on the lower arm.
Admittedly, the use of a ruling pen is difficult, but the
more accurately the lines are drawn, the more impressive the
overall effect. A pair of dividers is also useful fo.- establishing
spacing on the areas around the circle, and for precise divisions
of the Pentagrams and Hexagram.
8) With compass and ruler, draw the major sections of
the Cross. Eliminate the Pentagrams, Hebrew letters and other
details which are to be overpainted on a color background.
9) Apply all of the background colors, including the
petals of the Rose.
10) When the background colors are dry, add the details
in colors which are as flashing as possible. Technically, this
means using two colors which are exactly opposite each other.
The opposite of red is green. The opposite of orange is blue, etc.
Some experimentation with color mixing will be necessary
before the best result is achieved. This is particularly the case
with the Hebrew letters and their background colors.
11) Paint the back of the Cross with a white ground and
black symbols. Here, for the first time, we encounter the Motto
which is painted on each of the instruments. The principle is the
same as that of an individual who enters a monastic order and
takes a symbolic new name. The magical motto expresses an in-
tention, and each student chooses one according to his or her
temperament.
Following are some mottos of original members of the
Golden Dawn, which should be considered as samples, only.
While most of these are in Latin, a motto can be in any
language.
S'Rioghail Ma Dhream (Royal is My Tribe) S.L.
MacGregor Mathers
Vestigia Nulla Restrorsum (No Traces Behind) Mrs.
Mathers
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 4 / The Sword

The Magical Sword is used in all instances where great force in

invocation, evocation or banishing is required. It is an instru-
ment relating to the fifth Sephira, Geburah (Strength) on the
Tree of Life. Thus, the Pentagram, or five pointed star is one of
its key symbols.
The assumption will be made that very few readers of
this book are blacksmiths, and that those who are will require
no instruction on forging their own sword from solid metals.
Most of us find it necessary to purchase a sword, and paint it ac-
cording to the traditional directions.
The Golden D a w n text states that: "Any convenient
sword will do." However, this suggestion was made at a time
when swords actually were conveniently available, being often
required for Victorian ceremonial use. Swords available today
in antique shops, most of which are from the nineteenth cen-
tury, tend to be overly ornate and of little use because they offer
no room for painted inscriptions. Thus, the student is advised to
purchase a modern sword designed specifically for ritual use
from an occult or Masonic supply house. Such swords are
usually far less expensive than antiques.
Choose a sword which is not too heavy, preferably one
with a wooden handle and a simple cross bar of brass. The latter
should be fairly wide, to allow for the painting of symbols, God
Names and sigils.
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THE SECRET TEMPLE / 34 The Fire Wand / 35

refused to be discouraged, and w h o were intended to follow the 12) Apply two coats of gesso, sanding lightly between
ritual Path, found guidance in understanding what is and what each coat.
is not actually important. 13) Color the red parts of the wand using artist's acrylic
1) With a coping saw, cut a carefully-braced 1 inch by 10 paint.
inch dowel rod in half lengthwise. This is best done with a small 14) Color the yellow bands and the Yods on the endpiece
vice, an inexpensive piece of equipment which is a must for con- (Do not paint the bits of steel which extend from either end).
structing these instruments, at least for those w h o do not con- Acrylic yellow tends to be very transparent, and any streaks of
sider the sudden removal of a finger a significant part of their red underneath will show through. If there are any smeared
magical training. areas of red, coat these with white acrylic and then two coats of
2) Take a piece of steel wire 1/16 inch in diameter by yellow.
10-1/8" long, and repeatedly move a strong magnet across it in 15) Paint the God Names and Motto in a very bright
one direction, until it becomes sufficiently magnetic that it will flashing green.
pick up a pin. The end which attracts the pin will go at the con- 16) When the paint has cured completely, apply acrylic
ical end of the wand. varnish.
3) Cut a slight groove in both pieces of the rod, so that The symbols to be painted on the Fire wand are:
the wire will fit into it.
4) Insert the wire so that it extends 1/16 inch at each end. I) THE G O D NAME: YHVH T Z A B A O T H
5) Apply a very thick glue, such as Hideskin, to both II) THE ARCHANGEL: MICHAEL
pieces of the wand. This heavy glue will compensate for the III) THE ANGEL: ARAL
wood lost in cutting the rod apart. IV) THE KING: SERAPH
6) Push the two pieces together lightly, so that some glue V) THE RIVER OF PARADISE RELATING TO FIRE:
is squeezed out, and the original cylindrical form of the rod is PISON
restored. VI) THE CARDINAL P O I N T (SOUTH): D A R O M
7) Allow the wand to dry overnight. VII) THE HEBREW NAME OF THE ELEMENT: AESCH
8) Fill gaps with plastic wood a n d / o r gesso, allow to dry VIII) THE M O T T O
thoroughly and sand.
9) Measure the sections of the Wand, marking them with
pencil. A rolled piece of cardboard will serve here, as it did on
the Lotus W a n d .
10) With a wood rasp, files, knives, etc., carve the con-
ical end piece. Then cut away the three main sections, leaving
four bands.
There are, obviously, a number of ways in which this
wand could be made. It could be made in two main pieces: the
conical end being carved separately and glued to a 3/4 inch
shaft, with subsidiary bands of cardboard or other material
glued around the outside. It could also be cut on a lathe.
11) Smooth the wand first with a heavy, then with a fine
sandpaper.
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Part II / The Temple
 9 / The Temple

It might be safe to guess that in the Victorian era more of those

pursuing esoteric ritual had their own private Temples than do
today. Houses were large, and the late nineteenth century archi-
tectural aesthetic dictated that living space have a certain bee-
hive quality. So to find an unused room and lay claim to it may
not have been such a luxury.
Today apartment living and houses of two or three care-
fully-planned bedrooms is the norm. And to consecrate an en-
tire room for ritual and meditative purposes may be all but im-
possible. Those w h o can prepare such an individual space can
count themselves very fortunate. Those who cannot must exer-
cise ingenuity: some may have an Altar which sits incon-
spicuously disguised in the corner of a livingroom. Others may
choose to build an elaborate cabinet which closes off when not
in use.
For the person living alone, or with a spouse who is
either sympathatic or shares these convictions, finding space
may be the primary difficulty. But for those with curious chil-
dren or fundamentalist Christian relatives, the less that is ob-
vious, the better.
There are four possibilities, here offered in order of their
respective worth:
1) Set aside a separate room. Only the student should
enter this room, or those who are sharing meditative and ritual
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 1

THE SECRET TEMPLE / 56 The Altar / 57

2) Drill screw holes, and gouge areas for counter-sinking merely a means to an end. We mold these things from dust, and,
(insetting of the screw head). Then assemble the pieces with like us, they will return to the dust from which they were
screws and wood glue. created. They served us for a split second in eternity.
3) Attach the door with hinges and a small latch.
4) Attach wheels on flat plates to the bottom.
5) Fill the counter-sunk screw holes with plastic wood,
patch as necessary and sand when dry.
6) Apply undercoat, then one or more coats of black
enamel.

Altar Coverings
It is not necessary that the Altar be covered, but a cloth
of some sort will make it significantly more attractive.
Moreover, a student who has no Altar may find an Altar cloth,
whether simple or elaborate, very useful.
The more the Temple, whether a permanent room or en-
tirely portable, is set apart, the more effective it becomes. And
the student who lavishes attention on the preparation of a cloth
will find that it lights up the environment whenever it is un-
folded and spread onto the simplest table. The cloth, in effect,
becomes the Altar.
The Banners of the East and West, to be presently con-
sidered, are a difficult craft project, even for those with con-
siderable sewing experience. Such is not the case with an Altar
cloth, which can be nothing more than a large black square with
hemmed edges. The most ornate borders of gold are available
by the yard in fabric stores, and are quite inexpensive and easily
applied by hand or by machine.
The Altar illustrated in color has two coverings, both of
which are simple black material with stock border decorations
applied. The Rose of Five Petals, surrounded by the emblems of
the Four Kerubim, is hand-embroidered and represents one indi-
vidual approach to the Altar covering. A black cloth with no
decoration whatsoever is acceptable, but the more attention to
detail, the more there is a psychological separation from daily
life, and the more attention is directed to the inner realities
which the Temple represents.
It must never be forgotten, however, that no matter how
beautiful the instruments and the Temple we create, they are

11 / The Lamp
Traditionally, an oil lamp burns above the Altar as a sign of the
Illuminating Divine presence. Such a lamp is an extremely basic
device, consisting of nothing more than a shallow bowl filled
with oil and a wick. A piece of heavy string will serve as a wick,
and olive oil can be burned.
The lamp pictured in the color illustration is a Temple
lamp, made in France. The small cup which hangs beneath it
collects oil which drips slightly over the lip. Such lamps are still
being manufactured.
1
12 / The Censer
Incense is extremely important to ritual, and two forms of in-
cense holders are required. The first is a dish filled with sand,
used to hold sticks of incense for rituals such as that of the Rose
Cross. The second is the censor, a part of the Temple furniture
which hangs in the West or north-west corner of the altar.
A piece of self-starting charcoal, sold in church supply
stores, is placed in the censer, ignited, and incense such as
frankincense dropped on top of it. It should be added that very
little charcoal is required, particularly in a small space. Large
charcoal blocks intended for church use should be broken into
small pieces. Naturally, care should be taken in the use of char-
coal since it releases dangerous carbon monoxide; adequate
ventilation must always be provided.
It might be mentioned, parenthetically, that one au-
thority believes some of Eliphas Levi's visions to have been the
result of carbon monoxide poisoning, which is certainly pos-
sible. The least that can be stated with scientific certainly is that
burning vast amounts of charcoal in a small, unventilated,
space may lead the occult student to a longer out of the body ex-
perience than had been planned.
An elaborate censor can be purchased at a church supply
store, although it is likely to be quite expensive. And the un-
fortunate fact is that most of the liturgical brass being produced
today is of poor quality metal work, and execrable design. One
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14 / The Pillars

Traditionally the Pillars stood at the doorway of the mysteries

in the ancient Temple of Solomon. They represent the dualities
of the earthly condition, brought into balance by the candidate
who stands between them.
One is white and the other black. Both are crowned with
a red triangle and pyramid having a light with a hidden source.
The black Pillar is painted with white Egyptian figures, a black
lotus and a black cube at its base. The white Pillar is painted
with black Egyptian figures, a black lotus, and also rests on a
black cube.
This describes the perfect Golden Dawn column. Those
shown in the color illustration, however, are a simplified ver-
sion having neither the base, inner light, nor hieroglyphic in-
scriptions. The Pillars may be either the most complex pieces of
furniture in the Temple, or the most simple.
A Pillar may be nothing more than an upright piece of
wood, round or square, on a flat base. It may be as small as two
or three feet if space presents a problem.

The Complete Golden Dawn Pillars

From the standpoint of Temple construction, Americans
have one special advantage, resulting from their countrymen's
mania for destroying old buildings. In every major city nine-
teenth century row houses, with wood porches, are either being
THE SECRET TEMPLE • 64
systematically razed or renovated to exclude the porch. This
means that piles of large wooden pillars are usually available in
salvage yards, and at virtually give-away prices. The columns
illustrated here began life on a Victorian porch in Baltimore.
Such pillars can be constructed, but that is a tedious and
costly task. Of course, if a Temple is to be constructed for the
use of an occult Order, cost may be less of a consideration, and
designs should be turned over to a master cabinet-maker. A
Temple for group work should come as close to the ideal as pos-
sible.
If old pillars are located, a number of potential problems
exist. First, a great many such pillars have been stored in outside
yards, and are badly rotted. These should be avoided. It will
also be discovered that most of these pillars are made of hard-
wood strips, grooved together, and nailed to a porch base. Not
only are they extremely heavy, but there is a likelihood that
there will be a number of dangerously protruding, or slightly
hidden, rusty nails. Carry a pair of pliers into a scrap yard, and
expect to have to pull out some nails before transporting the old
pillars.
The greatest difficulty is that old pillars generally have
many decades of paint on them, invariably chipping off. Clean-
ing this paint to bare wood requires a large amount of heavy du-
ty paint remover, and many hours. Moreover, the solvents re-
quired to handle such caked paint are extremely toxic and
volatile, so work should be done out of doors if at all possible.
The most practical solution is to take the pillars to a
company which specializes in removing paint from old furniture
where they can be dipped or sprayed with solvent.
Beginning with clean columns, whether renovated, or
built new:
1) With 3/4 or 1" birch plywood, construct two cubes
(leave the bottoms open) and attach the columns securely. If
using new columns, work with several very long screws and an
industrial-weight epoxy cement. Older columns may be more
difficult to attach, because of the unevenness of the bases, and
because deterioration of the wood may have occurred. Some in-
genuity will certainly be required.
2) Once the Pillars have been securely attached to the
bases, fill any gaps with plastic wood. If the holes are par-
The Pillars / 65
ticularly large, build up the filler, allowing several days of dry-
ing between each coat. Plastic wood may appear to be com-
pletely dry but, if applied in thick coats, may shrink dis-
asterously over a period of weeks.
3) Sand the Pillars, first with a rough, and then with a
smooth paper.
4) Build the triangular capitals with their tetrahedronal
tops. The triangles should be cut from one inch pine, while the
tetrahedrons can be constructed from thin plywood or very
heavy cardboard and paper tape. If plywood is used, the sharp
edges should be filled with plastic wood or gesso modeling
paste, and smoothed with files and sandpaper when thoroughly
dry. The process may have to be repeated several times to pro-
duce a perfect tetrahedronal form.
If desired, a small lightbulb can be incorporated into the
capital, but care must be taken that there is no great build up of
heat, which could present a fire hazard.
5) Coat the Pillars with a white priming paint.
6) Carefully measure, and draw the Lotuses at the bot-
tom of each Pillar.
7) With enamel, paint one column black, and the other
white.
8) Paint the Lotus flowers in the opposite color. Small
brushes will be required for accurate outlines.
9) Paint the bases black, and the capitals red.
10) Paint the hieroglyphic designs as given in the follow-
ing pages, black on the white Pillar and white on the black
Pillar.
These are vignettes from the seventeenth chapter of the
Book of The Dead, illustrations intended to accompany the
"Hymn to the Rising Sun," slightly modified by the Order for
use on the columns. The illustrations here are traced exactly
from a paper written by Brodie Innes, entitled 0°-0° Grade of
Neophyte Side Lecture No. 2A, Appendix to the Lecture on the
Pillars (Carr P. Collins, Jr. Collection, the Bridwell Library,
S.M.U., Dallas, Texas). The lecture mentioned was a brief one
by Mathers w h o , with Brodie Innes, founded the A-0 after the
collapse of the Golden Dawn Isis-Urania Temple in 1900.
These vignettes are very complicated, and few may
choose to make the effort of painting them on the Temple Pil-
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 15 / The Temple Diagram

This diagram may be described as a complete "Ceremonial" Tree

of Life. On each of the Sephira the appropriate God Names are
painted in their opposite or flashing color, as is also found on
the instruments. The principle of flashing colors is very basic to
the Golden Dawn system. The Qabalah, of which the Tree of
Life is the primary symbol, involves opposites, and the desire to
bring those opposites into perfect balance. A force functions
properly only when its opposite and balancing force is present.
Thus the colors, which are the mundane aspects of the actual
spiritual forces, are activated in the presence of their opposites.
The Sephiroth are painted in the colors of Briah, while
the paths are painted in the colors of Atziluth providing a
balance of masculine and feminine in the same symbol.
The following are the proper colors of the Sephiroth and
Paths, the opposites of which can be easily derived from a color
wheel, as has been previously noted. The full scales of color in
the four worlds, as apparently developed by MacGregor
Mathers, can be found in Regardie's Golden Dawn, and Crow-
ley's 777.

SEPHIROTH:
1. White brilliance
2. Grey
3. Black
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 16 / The Banners of the
East and West

The Banners are a difficult craft project because of the sharp

corners required on some pieces. Their preparation demands
both sewing experience and a rather meticulous sense for detail.
Material for the Banners should be very thin. It is almost
impossible to fold thick cottons or other fabrics into these pat-
terns; they invariably appear lumpy and crude. The ideal fab-
ric, from the standpoints of availability of colors, cost and ease
of construction, are acetates intended as lining materials.
To some extent, this should be considered a "cut and
paste" project. Iron-on seam binding should be used to hold the
pieces firmly in place before they are overstitched. It is essential
that the pieces be held completely flat before final sewing, if a
machine is used. Otherwise fabrics may pull to one side or the
other, creating uneven lines.
The following is a technique for sewing a cross. In the
absence of iron-on seam binding, the panels should be basted
(large t e m p o r a r y s t i t c h e s ) t o t h e b a c k g r o u n d p a n e l .
1) Iron the fabric, and on the back of it draw a cross. A
soft black pencil will generally show up, even on black fabrics.
A white chalk pencil available at fabric stores may also be used.
Lines must be measured carefully.
2) Cut around the outside of the Cross, leaving a border
of approximately 3 / 8 inch.
3) Cut the corners and central angles as shown in the
illustration.
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 Notes on Consecration
Rituals of consecration for each of the instruments is given in
The Golden Dawn, Volume Three. These are composite rituals,
involving the use of the Pentagrams and Hexagrams, which
should be studied very thoroughly before they are actually per-
formed. The rituals presuppose familiarity with all Banishing
rituals. Moreover, a student is advised to spend some time
working with the exercise of the Middle Pillar, which will confer
no small appreciation of the energies invoked in these
ceremonies.
While it is not explicitly stated in the Golden Dawn
documents, some consideration should be given to the astro-
logical aspects under which the instruments are consecrated.
A ritual of consecration may be done repeatedly, thus
adding to the potency of the instruments, and increasing under-
standing of the nature of consecration in general. These Golden
Dawn rituals seem to have been developed, partially, as an at-
tempt to teach the methods of invocation. They are unsurpassed
in that regard.
Finally, it should be noted that instruments are con-
secrated through their repeated use.

Recommended Reading
Israel Regardie, The Golden Dawn
Israel Regardie, The Tree of Life
Aleister Crowley, The Equinox (11 volumes)
Aleister Crowley, Magick in Theory and Practice
Aleister Crowley, Book 4
Aleister Crowley, Magick without Tears
Aleister Crowley, 777
W.E. Butler, The Magician, His Training and Work
W.E. Butler, Magic
Francis Barrett, The Magus