Chapter Seven

Conjuration at a Glance

Glendower: I can call spirits from the vasty deep.
Hotspur: Why, so can I; or so can any man:
But will they come when you do call for them?

—

Shakespeare, 1 Henry IV

Standing alone in the dark on a trail in the forest, I felt both at ease and alert. There is something exhilarating about performing Witchcraft under the full moon, hidden amongst the shadows of an even darker and still night. Your animal senses take over and every smell becomes richer, every sound louder, and every movement impulsive. As I made myself comfortable and nestled into the perfect spot, I could feel my heart slow down from its ecstatic fervor as the crickets and frogs filled the air with their own kind of ecstasy.

Raising my right hand in the air, I drew a pentacle of copper flame and whispered back to the darkness, “Shadow King! Shadow King! Shadow King! He who rules the darkness between the light, I summon you! Shadow King, be here now! Shadow King! Shadow King! He who comes as a gust of wind—hear my call; my voice is nigh. Shadow King! Shadow King! Shadow King! Granter of wishes and doer of deeds, meet me in this hidden place. Grant me the honor of your presence and I shall grant you mine!”

With my left hand I poured a chocolaty merlot upon an exposed mossy root and waited for some sign that he had heard me. “Shadow King! Shadow King! Shad—” The wind rustled through the leaves and the air grew chill as the hair on the back of my neck stood at attention. I guess that was the sign I was waiting for.

If we witches are known for anything, regardless of our culture, conjuring spirits would be it. To the outside world, just about any act of magic could be considered a conjuration, but the word has specific meaning behind the curtain. Conjuration is the summoning, evocation, and elicited manifestation of a spirit or frequency from a different plane to our own. Soul flight teaches us how to go to the places where spirits live, mediumship teaches us to feel and sense the frequencies of spirits around us, and conjuration teaches us to bring spirits and frequencies to our plane from a foreign one.

We perform acts of conjuration for multiple reasons. First, by bringing a spirit onto our plane, we are making it easier for the spirit to do work that will have a direct effect on our plane. Remember, the farther away a spirit gets from its place of origin, the more difficult it is to create an impact; when we bring them to our plane, we decrease the amount of resistance that is in the way. Second, by bringing a spirit onto our plane, we are better able to control the relationship between the spirit and ourselves. This also builds a strong and lasting partnership between the witch and their spirits, which has the potential to be powerful if given the right amount of attention. Third, depending on the type of spirit and the way you choose to establish a relationship with it, conjuration can give you the added benefit of replacing an entire coven if needed. And lastly, conjuration is our birthright as witches; it is part of the witch power to have command over spirits and the places they dwell. When we study and practice the arts of conjuration, we are tapping in to an ancient gift that, I believe, has been coded to our genetic memory.

Most witches are performing conjuration without actually knowing they are doing it. An act of conjuration happens every time you call out to a spirit and bring them closer to you, such as the guardians or your allies before or during ritual, build an altar to a deity or a cairn in the woods, even when you construct a poppet. Basically, anytime we take command over a frequency or spirit from any other plane and have it come into our world to either guide us or serve us, we are performing an act of conjuration.

There are typically three types of conjurations we practice: a summoning, a possession, and a holy conjuration. A summoning is when we invoke or call upon a spirit. We can summon all kinds of spirits, but perhaps we are most familiar with invoking the guardians or gods in ritual. A possession is where a spirit is placed willingly or unwillingly into a vessel or body. Dwellings can be possessed, people can be possessed, dolls can be possessed; just about anything that is meant to house or contain energy can be possessed. A holy conjuration is when we make room for these spirits by way of an altar or a shrine and slowly conjure them by building them a space or platform in our world. This act requires a lot of devotion, time, and energy, and it is something most often reserved for those practicing a priest/ess role with that spirit.

Because it is such an integral part of Witchcraft, it isn’t often given its dues as it is often overlooked as a skill set. This could be because, as I mentioned earlier, people who are good at these things can be kind of scary to those who don’t possess a natural talent for the skill. Also, teachers only teach what they know and are comfortable with—another reason I think witches should study with multiple teachers throughout their lifetime. At some point conjuration became something contemporary Witchcraft took for granted, replacing its more colorful variations with prayer and meditation. However, let’s make no mistake: as witches we are perfectly capable of taking control of the spirit world; we just have to have the right tools.

The Tools of Conjuration

I’m a big fan of ritual tools, not because I think we need them in order for things to work, but because I realize they are gateways to energies and psychic constructs that can propel magic forward and shape the energy in a way that already has paths to manifestation. A chalice is just a cup if that’s all you let it be, but if you pick up that chalice during ritual and part of you knows that it represents the elemental frequency of water and the blood in our veins, then you know that you are wielding command over that element. You know that because you have it in your hand, it can be swayed. The tools we use in the Craft are mental triggers, or presets, that help to push our mind and our will to the next level of manifestation. Do you need a chalice to make magic work? No, of course not! But you will find that if you have developed the right kind of relationship to the chalice, by simply picking it up you are tapping into the frequency of water, with no extra thought or prep work needed to get you there. That is why we still work with these tools in contemporary Witchcraft.

In truth, the only two essential pieces of equipment that you will need are a sharp mind and a strong voice. If you can visualize easily, conjuration will be easy, but if you struggle with visualization, you may find it is difficult in the beginning until you can get the senses on board. Definitely go back and practice creative visualization if this is a weaker skill set for you. You also need to have a commanding tone in your voice, even when you whisper. Kind of like an animal you train, if you do not assert dominance with your tone and mannerisms, the spirit will not behave or respond to your efforts. Spirits don’t listen to the mousy, so be brave and take charge when you speak.

In addition to a clear mind and potency of voice, there are traditional ritual tools that can be used. These tools should be blessed and charged with the specific intention of working with spirits. Ultimately the tools used will depend on the spirit. In Sacred Fires, however, we use the spirit blade, cauldron, chalk, and incense when performing the familiar workings of conjuration.

Spirit Blade

The spirit blade is a ritual sword, athame, or knife that is used solely for the work of spirit command. I’m not too picky about the sharing of magical tools with everyday tools—I mean, c’mon, sometimes the chalice is just going to be a wine glass—but with this tool we really should keep it separate from your everyday knives and such, and even, to some extent, your other working tools. I think the blade is most comfortable to wield when it is smaller; however, the bigger the spirits and the tasks at hand, the bigger the blade required. It can be made of any metal, though brass and steel seem to do the trick.

When working with faery spirits, however, no metal should be drawn upon them, especially iron. Getting a spirit blade made of wood or stone is best when working with them. I keep a separate blade made of jet just for this purpose.

Blessing the Blade

The blade should first be cleansed in running water—a stream, river, lake, or any moving body of water will do. If you’re in a pinch, get a gallon of spring water from the grocery store and use that. Ideally, this cleansing will take place in the body of water and should be at a location that is either special to you or is known for the supernatural, miraculous, and magical. Drive the blade into the earth and draw a pentacle of white flame over the hilt, or handle. Place your hand over the pentacle and firmly press down, directing the pentacle into the blade, and say, “By earth below I give thee back all energy, all will, all programming, and reset this blade anew!” Take the blade out of the ground and then dunk it in the moving water, allowing the water to flow over it from handle to blade tip, then draw a pentacle of indigo flame over it and, as before, send this fiery pentacle into the blade. As the water moves over the blade, say, “By water I cleanse this blade and consecrate it in the name of Hecate. May it wield her might!” Remove the blade from the water and gently pat dry with a white towel.

Next, draw a pentacle of blue fire over the blade and then send the pentacle into it. Pass the blade through a flame three times and say, “By fire I forge thy purpose: to bring dominion and sovereignty over the spirit world!” Draw a pentacle of golden flame over the blade and, as before, send it into the blade. Light some incense, pass the blade through the incense smoke, and say, “By air I quicken this blade and feed its mighty flame!”

Next, draw a pentacle of white fire over the blade and visualize it being absorbed. Hold the blade as if you were to use it in battle but instead use the tip to cut out a sixth pentacle in the air before you. As the blade slices through the air, visualize an electric indigo liquid fire emerging from the tip and say, “By Spirit, who is the sum of all things, I dedicate this blade; may it part the worlds and command the stars! Mutatis Mutandis! So must it be!”

Cauldron

Going back to basics, the cauldron symbolizes both the womb of creation as well as the bounty of the universe.

We don’t really need to worry about a cauldron being cleansed and sanctified for ritual purpose. Why? Because cauldrons are made from cast iron, which not only breaks etheric patterns (similar to salt), but is often used to dispel and remove curses. Iron won’t hold a magical charge, so it essentially resets between uses.

If you are going to use a bowl instead of a cauldron, repeat the blessing from the blade but substitute “bowl” for “blade.” We can work with a cauldron to bring forth spirits via several modes, our favorite being the cauldron fire.

Chalk

We use chalk to draw sigils on the cauldron and on the ground when appropriate. Chalk is an incredibly useful method employed by practitioners of Vodou and other faiths to map out magical symbols in white. The same principle can be applied to the cauldron by drawing the specific sigil or talisman of the spirit or frequency you are conjuring. For example, if you were conjuring the spirit of the Pisces full moon, you would draw the symbol of Pisces over the symbol of the moon with an arrow pointing down, directing the energy into the cauldron. If you were working with an angelic spirit to help quit smoking, you would draw the appropriate sigil on the cauldron with an arrow pointing to the right, indicating a counterclockwise motion or a banishing.

We can use the chalk not only to place sigils on things, but to also direct the flow of energy around them. Perhaps best of all, chalk is cheap and easier to clean up than paint. Mistakes are easily corrected, and when you are done working with that energy, with a simple wipe of a cloth a blank canvas is ready for your next magical inkling.

Incense

Incense is a pretty major component to the conjuration of spirits. Incense can be used as both a purifier and contagion, as well as an offering and trigger. Having a few recipes in your arsenal that are specific to you and your work can help to get you in the right state of mind quickly and will help to train your spirits to respond to you when you call them.

In our practices within Sacred Fires, incense is both a tool and an offering. For all of the following incense recipes, powder the ingredients and burn over charcoal.

Conjuration Incense Type 1

To be used for all general and initial conjuring where the spirit and summoner are not intimately familiar.

2 parts copal resin

1 part bay leaves (ground)

1 part rue

3 parts lavender flowers

Conjuration Incense Type 2

To be used when conjuring larger or higher-ranking entities (within their perspective orders, dynasties, or regimes) when the spirit and summoner are not intimately familiar. Excellent for initiating contact and conjuration with gods, angels, and demons.

1 part copal

1 part frankincense

1 part myrrh

1 part dragon’s blood resin

2 parts rue

3 parts sweetgrass

Temple Blend

This incense is excellent as an all-purpose blend that can be used as part of any temple related or ritual working where spirits will be called upon. This incense can be burned for any spirit that you are working with intimately or wish to become intimate with.

1 part honey amber resin

2 parts dragon’s blood resin

1 part sage

1 part natural or pipe tobacco

2 parts cedar tips

Psychic Type

This blend is used when preparing the mind for deeper psychic work and is an excellent aid before ritual to open the senses, as well as during ritual when senses feel strained.

2 parts myrrh resin

1 part ambergris

1 part aniseseed

2 part lemon grass

2 parts sweetgrass

Witch’s Tree

This blend is used as an aid when summoning the Witch’s Tree and can be burned during times when you wish to compel the energies of all the planes at once. This incense is also excellent for work where you will be visiting the white room.

2 parts dragon’s blood resin

2 parts frankincense

2 parts oak moss (bog peat/peat moss will work as a substitute)

1 part rue

3 parts honeysuckle

2 parts rose

1 part white sage

Spirit Guardian

To be used when summoning a protector spirit, especially before a conjuration occurs. As this blend’s smoke rises, the witch should chant three times, “Smoke is to ember as spirit is to me. I summon a guardian from the Witch’s Tree!”

1 part frankincense

1 part myrrh

1 part nettle

2 parts rose

2 parts patchouli

2 parts bay

Other Tools We Might Work With for Conjuration

Bones and Remains

I feel that working with animal remains is a very precious act. It is a magic that bonds our primal soul to the remaining fragments of another. There is something visceral and primitive about it, as this work elicits the imagery of blood and gore and sacrifice. Truth be told, there are few instances of animal sacrifice in contemporary Witchcraft, probably the most well-known being the work of occultist Andrew Chumbly in his grimoire The Golden Toad. The working described within involves obtaining a specific bone from the body of a toad in order to achieve a certain state of primitive consciousness. Even that working was not as macabre as one might suspect.

I grew up in a hunting culture, so animal remains were readily available for me almost year-round. Getting my hands on a pair of antlers or raccoon fur wasn’t too difficult. If you are lucky enough to be part of a culture where hunting is the norm, try to get your hands on the bones of the local creatures in your area. Working with these creatures will better connect you to the spirits of the land where you live. Any remains will do: feathers, fur, bones, scales, eyeballs—really just about anything. If you don’t know a hunter directly, contact local meat processors and taxidermists who might have leftover material. Just check to make sure any remains collected are legal to have in your area.

On the flip side, if you are looking for a less hands-on way to work with remains, check out antique stores and online taxidermists. There are a few stores that do carry animal bones and odds and ends, as well as artists who reclaim old taxidermy and repurpose the animal remains. One such artist is author Lupa, who advocates for animal rights as well as wildcrafting and has built a career on working with the remains of animals. I highly recommend her book Fang and Fur, Blood and Bone: A Primal Guide to Animal Magic, where she covers these topics nicely.

You should also check out naturalist shops, flea markets, farms, and of course your local forest or nature preserve. Always wear gloves when collecting remains from the wild, and make sure that they are thoroughly decomposed or that you have a handy cleaning method. Generally boiling remains for several hours will separate the skin from the bones, making cleanup easier, though I do warn you it is quite stinky! You can also soak bones in a solution of ammonia to brighten them once you have cleaned them.

A word of warning: you must be careful when you possess or purchase animal remains, as there are heavy restrictions per country and state/region as to which species are protected. For example, here in California it is illegal for us to have wolf pelts or bones; however, in Oregon it is legal to possess and purchase them. Here in California it is also illegal to possess an owl feather unless it was given to you by a falconer or caretaker of the owl as a gift. They could not sell the feather to me. So as you can see, there can be some pretty tricky rules and regulations surrounding this. I recommend that you check out Lupa’s website, www.thegreenwolf.com, where you can find the laws pertaining to your specific region.

If you are a witch who would never be part of a working that had anything to do with the death or harm of an animal, I’ve got you covered, too! Often, animal rescues and reserves will sell remnants and parts such as fur, feathers, and even bones of animals that are in their care once the animal has shed them naturally or has passed of natural causes. The money raised goes to support these organizations and the costs of operations. I have several friends who got wolf fur and lion mane fur that way.

Do you need to work with animal remnants? No, but I will say that Witchcraft involves bones and fur and, on occasion, blood. I understand that some may have opposition to this type of work, but it is an important part of Witchcraft and one that I feel should be preserved as much as possible.

Remnants are used in the making of ritual and talismanic objects, as well as to anchor the spirit of that animal to our workings. do not, under any circumstances, harm a living animal for the simple purpose of harvesting its bones or body parts. That is a line to never cross.

Correspondences

Conjuration can be a tricky thing at times. Spirits can be hard to tune in to and often even harder to stay tuned in to or grounded in our plane. There are stones and metals as well as other correspondences that can be used to aid you in the process of conjuration. Each correspondence is like a key that unlocks a greater frequency; some keys may not fit the door you are trying to open, however. Take your time and practice with these correspondences before adding them to your practice. You may find that one or two of the stones listed here don’t help you at all, or that you are allergic to one of the herbs listed. Always tailor the magic to suit you by combining what works best for you; what I have listed is what typically works for myself and others.

Crystals and Gemstones to Aid in Conjuration

Angelite, ruby, amber, onyx, quartz, serpentine, jade, topaz, garnet, opal, rainbow moonstone, labradorite, moldavite, sapphire, selenite, smithsonite, sodalite, jet, smoky quartz, wulfenite, chalcedony, aquamarine, kyanite, emerald, fluorite, marble, and peridot, to name a few.

Herbs that Aid in Conjuration

Sweetgrass, peat moss, juniper, cedar, hemp, valerian, catnip, mistletoe, poppy, tobacco, bay, willow, oak, elder, walnut, thorn, rosemary, lavender, rue, wormwood, mugwort, cypress, camphor, rose, garlic, grain, beans (especially fava beans), rice, and resurrection herb, to name a few.

Preparing for Conjuration

It is important to know everything you can about a spirit before you conjure it. This is why we stress the importance of meeting the spirit through a soul flight journey first and then building a rapport with them over time. Some systems don’t require much prep work, like the work of the Goetia. You just draw a sigil and align yourself in the right way and poof! There’s your demon. But, generally speaking, it is all a bit more complicated than that.

When you conjure a spirit, you have to have a prime directive in mind and have goals predetermined. Once you begin to traverse the worlds in search of the right spirit, it will be increasingly easy to stray away from the point; being focused will help you avoid any pitfalls. Spirits also tend to rush through encounters, so knowing exactly what you want to cover beforehand can sometimes save your magic!

Prepare your mind, body, and space for the working. The practices listed in the third chapter pertaining to preparing a space should be all the prep work you need, but keep yourself aware of any changes that may need to take place based on new information you receive. I find that having a regular space where I can conjure spirits is quite nice and allows me to have wards permanently set and a much more fluid energetic space. Keep your head clear and free of baggage when you conjure spirits, and never let your skeletons be used against you by a spirit.

You are likely to be tested once or twice by a spirit, so be prepared to take control if needed. To do this, refer back to the ritual blade and the indigo fire. Ignite your holy fire and then allow it to burn with a deep indigo color as you summon the fire blessing of Hecate. Take the blade in your dominant hand, point it in the direction of the spirit, and then visualize it traveling down the blade and binding the spirit. See that the spirit is totally encompassed with the indigo flame and then direct it as necessary.

When conjuring a spirit you don’t know for the first few times, or whenever your intention is to trap a spirit for any purpose, a circle should be cast. I don’t cast a lot of circles outside of this type of work because a circle’s only function is to contain energy and protect it or keep it separate from the energy outside the circle. Solomon, the Hebrew ceremonial magician and king, used a circle to conjure demons, which he then used to build his temple. We have drawn from this lore heavily in contemporary Witchcraft, and at some point casting a circle just became a step in the standard ritual script. However, it is not always needed, and I find at times it is actually a hindrance. The intention with most circles is to ground the energy within to all three levels of the Witch’s Tree. When conjuring a spirit that you are unfamiliar with, it is always best to play it safe, so in these instances it is absolutely appropriate to cast a circle. We would also cast a circle when ensorcelling a fetish or a doll to ensure the spirit would be unable to leave once inside.

You can cast your own type of preferred circle to do this, or, if you’re feeling experimental, try this:

Begin at the appropriate compass point—generally the east for us northern hemisphere folks—facing the clockwise direction. Taking the spirit blade in your dominant hand, raise your arm up to a 45-degree angle to your body and walk the perimeter of the circle. As you do this, say three times, “I cast this circle thrice about to keep unwanted spirits out!” and visualize a white flame shooting from the tip of your blade. On the second pass, lower your blade so that your arms are parallel to the ground and continue to move clockwise, visualizing the white flame and saying, “Allies within, enemies without; may all evil be turned about!” On the final pass, lower the blade so that your arm is at a 45-degree angle to your leg and say, “It is my will; so shall this be: a circle of magic made for me!” Once you return after the third rotation, visualize the three rings of white flame expanding to create a sphere of white flame around you and say, “By the Goddess and her will, by the throne and the heir, I cast this circle and seal it tight and hide it with my witch’s might!”

The Compass and the Witch’s Tree

The final piece of the puzzle that I would like to add in this chapter is the practice of “laying the compass,” which comes to us by way of traditional Witchcraft. When we lay the compass we are essentially creating a purified energetic space and accessing the Witch’s Tree. It is similar to casting a circle; however, we are not creating an impermeable boundary that will contain the energy but rather one that will allow it to flow freely in and out of the space. Unless otherwise noted, I recommend doing the majority of your spirit work within the compass and the Witch’s Tree. You can summon the tree anytime and anywhere, and best of all, you never have to take it down because it diminishes on its own over time! By performing this act, you are now taking the steps to personify your relationship with the Witch’s Tree as a tool for conjuration.

Our intention is to orient the flow of energy around us, rather than orienting ourselves around it. Unlike in a traditional model, which stresses associations between directions and elements, this system allows for a free-form magical approach. The compass consists of four paths or roads that are laid on top of one another. In the center, where they meet, the Witch’s Tree emerges from the unseen, and we can access every single one of our spirit allies. Our allies will then act as wards at the parameters of the compass space, keeping you safe but your magic fluid.

The four paths we speak of are metaphors for the work we do in Sacred Fires, known to us as the Left-Hand Path, the Right-Hand Path, the Sovereign Path, and the Crooked Path. Wherever the teachings of these four paths cross, the Witch’s Tree will emerge. By working in this way, we are better able to orient our magic according to our own strengths, weaknesses, and skill level.

Face the northeast and raise your arms so that your hands are over your head, slightly in front of your body, with your palms facing out. Say:

I stand at the center of four roads, between the apex and vertex of time and space!

I conjure the Witch’s Tree from the black flame of God Herself and look upon the void’s own face!

Lower your arms to be at your sides. Say:

Before me and behind me lies the Sovereign Path, the road of those who wear the crown!

At my sides lies the Crooked Path, the road of those who keep the way.

From north and south the Left-Hand Path, the road of poisoners and the self-redeemed.

From east and west the Right-Hand Path, the road of healers and the artists unseen!

Let eight be four and four be one, and the black flame eclipse the sun!

From the one I call the tree, and from the trunk unlock the three!

By the compass and the powers, by the Grigori and the towers,

What is within is now without; may all our enemies be turned about!

Finish by saying:

Brothers, sisters, others of the art, together in blood we never shall part!

Spirits, allies, imps who don’t stray, the witch’s blood opens the way!

Let three be one and one be eight, I blur the lines of life and fate!

By the black flame so must it be, of all worlds the Witch’s Tree!

Seal the energy by stomping your foot.

 

Journal Topics

• • In addition to the tools listed in this chapter, what other tools do you use when working acts of conjuration?
• • When working with spirits, it is important to have a commanding presence and tone in your voice; remember, spirits don’t listen to the mousy. What are three ways you can cultivate a powerful presence when working with spirits?
• • Which crystal and herbal correspondences for conjuration have you worked with in the past and in which ways did they impact your magic? Which correspondences do you want to add to your arsenal?
• • What does it feel like to work with the Witch’s Tree as a path and container for your magic? How do the sensations differ between this method and a standard ritual circle?

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