Chapter Seven

Activating Quintessence

Man is a microcosm, or a little world, because he is an extract from all the stars and planets of the whole firmament, from the earth and the elements; and so, he is their quintessence.

ornament

Paracelsus

Every component of a spell, from the words you say to the ingredients you use, is an anchor of quintessence. Many witches skip the vital process of tapping into and calling upon the magical energy found within these components, assuming that magic is solely about intent and that somehow the universe will figure it all out. Before something becomes an agent of magic or a source of power that we might draw from, we have to first tap the wellspring found within. We refer to this process as awakening or activating quintessence, and it is a lot easier than you might think.

One of the beautiful things about the witch power is that it is naturally drawn to quintessence, and it comes with a sense for where to find it. To find the quintessence within a spell component, all you need to do is tune into the frequency resonating from the item and then hone in on the source to clarify the channel. We do this by allowing our consciousness to follow the frequency until we meet the point of its origins. It is akin to looking down a straw to see what is on the other side. Once we find it, we focus on increasing its intensity by coaxing or pulling the energy out through the other side, like taking a sip through the straw. Once the flow of energy starts moving, that source is accessible until you tune out of it.

Sometimes, such as in the case of herbs and crystals, this power lies on the other side of a master spirit such as a deva or plant spirit. In this case, we actually communicate with them and inform them as to what it is that we want them to do on our behalf. For example, if working with rue, a favorite of mine, I would approach its master spirit psychically, inform it of the situation, and then ask for it to allow me access to its power to make this happen. The more you work with the master spirit, the faster this process becomes, which is why many witches prefer to grow their own magical herbs or work with a limited amount of them. It is better to work with five herbs and know their spirits well than have access to a hundred herbs and not know them at all.

I would also suggest that to keep you and your materials at the ready, spend time getting to know the things that are already in your cabinet. Take ten to fifteen minutes every day for a week tapping into and connecting with the spirits of your herbs, oils, stones, and other materials. When you get new materials, tap into them and introduce them to your environment. Get to know them and let them get to know you; this way, if you do need them on the fly, they will be more likely to work with you. For those witches who have a difficult time with their spells being effective, this simple trick may just be the fix.

Once you grow accustomed to connecting to the quintessence within your materials and spell components, you will be able to take it to the next level, which is to essentially distill that power into a readily applicable form. This is usually done by drawing the essence of the material into another substance, such as water or oil.

In the case of crystals and metals, the most common practice is to empower fresh water with the essence of the stone. This is done by placing the stone or metal in a glass container full of spring or distilled water and then placing that in direct sunlight for three to five days. After it has been charged, the stone or metal is removed, and the water can be drank, applied to baths, used in mists, etc. Obviously, not all stones and metals are safe for this, so please do your research. Stones like malachite and certain metals like copper can be toxic if worked with in this way, so it is always best to check before preparing a condensed form of quintessence and make sure that its application will work with your plans. Crystals and metals can be added to oils for the same purpose but should be charged ahead of time, as oil should not be left out in the sun.

Herbs are much more versatile when it comes to working with the quintessence they provide. Stones and metals are solid and aren’t likely to completely dissolve, but herbs are malleable in this way. In addition to working with essential oils, which are extracted from a plant and generally resonate with the purest vibration of the plant or flower, we can also work with the raw plant matter itself.

Every piece of a plant contains a different aspect of the plant’s over-all frequency. The roots have its most base frequency, resonating into the underworlds. The stems and leaves resonate with the energy of that plant’s middle-world frequencies. And, as you might guess, flowers are thought to contain the plant’s highest vibration. Whenever possible, keep this in mind when accessing the quintessential power, as these different layers will act as a prism, refracting the original frequency of the plant into its higher, middle, and lower-level frequencies. Think of these as notes in a chord: when all three are played, it produces a harmonic sound of the whole plant, but these notes can also be played individually to produce a melody or, in our case, create the desired flow of quintessence.

Sometimes we will want to work with the highest vibration of a plant and sometimes we will want to work with the lowest. Generally, the high frequency produced by flowers brings about the blessings of the plant. The mid-frequency of the plant is thought to bring about wisdom, knowledge, and durability, and can be found by working with stem, wood, or bark. The root is believed to bring about the more aggressive and/or baneful aspects of the plant’s frequency. This isn’t always true for an herb; for instance, the roots of a belladonna plant are less likely to aid in a curse than its flowers or fruit, but in general this is an excellent guide to follow. Roots move through the soil and push things aside so that they can reach whatever nutrients they need. This makes them formidable vibrations to work with in magic.

The same process of awakening or activating quintessence can be performed on anything, even manmade objects. Mainly all we are doing with this process is tuning in to the psychic frequency resonating from the material, finding its source, and then putting a tap into it so we can capture the quintessence. Once it starts to flow, all we need to do is direct it.

To direct this energy, we are mostly going to program it to do a specific thing on our behalf. This same technique works for everything from stones to herbs to ritual tools; once you have hold of its essence, you very clearly state what you desire it to do. Form a short sentence, like “Rue, protect me from psychic attack” or “Hyssop, guide me to clarity.” Whatever it is, make it a direct and singular instruction. Avoid saying anything complicated, like “Mint, purge my aura of negative vibrations and clear my second sight so I may see the witch’s dream better!” or “Mandrake, bring me all the wisdom and knowledge of the craft and help me become a master of the arts!” Once you start to put the components together when you cast the actual spell, you will give them further instruction and can get specific as to how you want them to work as a team. In the initial activation of the herb, however, you want to merely draw upon the aspect of the plant or spell component you will be working with directly.

Condensing Crystal Quintessence

Once the quintessence has been activated, we can direct its energy into just about anything we desire. Sometimes, though, the quintessence we seek must be conjured up beforehand to be used in our magic. How might one access the essence of a specific alchemical element without having direct access to it in the moment? These are energies we work with often in the craft, so having multiple ways to access them is always a good thing.

Some witches work with crystal grids, which are made with stones and minerals that are placed in a specific geometric pattern, with a main stone (or an object to be charged with energy) in the middle acting as an amplifier for specific energies as they manifest. Fed by the surrounding stones, the energy output by the main stone is usually palpable and recognizable. Creating one with stones that are specific to the element of fire would allow you to channel that energy—likewise for any of the other elements or correspondent properties possessed by the crystal. All you need to do is awaken the quintessence in each of them, program them by psychically implanting instructions, and then place the stones in a pattern that corresponds to your work. Once all the stones around the main stone have been activated, you will need to give the larger, more complex set of instructions to the main stone in the middle.

Example Patterns

Each grid on its own, if correctly set up, is capable of pumping out the same energy as another witch and makes an excellent anchor for larger, more vivacious energies. Most often we use crystal grids to either help us manifest a spell quicker, as they really do make excellent batteries, or to amplify a specific frequency that we require to be present. For the alchemical elements, making a grid from one, some, or all of the following crystals should plug you into these powers.

earth

air

water

fire

spirit

By using crystal grids, we are essentially condensing quintessence into a refined source of power and using the natural flow of energy that crystals possess to make that happen. With herbs, however, it can be a bit trickier. Yes, you can make herbal grids, which essentially carry the same idea as crystal grids. Instead of working with a main stone, an item is placed in the center for charging. The herbs are then collected and either blended into incense that can be burned to invoke that power or a tea to do the same.

Condensing Herbal Quintessence

We can also create what is called a fluid condenser, or decoction, which is a technique that allows you to extract quintessence from an element or location. According to Nigel Pearson, a fluid condenser “refers to the non-physical (fluid) energy that is the essence of each element, which is incorporated into a liquid that can be used in the work of spell crafting.”6 The idea is to collect the appropriate plant matter, add it to water, and then boil it down into a thick, almost syrup-like consistency without burning it. The result is a concoction that contains the distilled quintessence of its ingredients.

You would use these in invocations to the elements, add a drop or two to poppets and fetishes for extra oomph and to give them the power contained therein, and can even dress candles with them. Basically, a condenser is useful anywhere you might benefit from the fluid energy that is the essence of each element.

Earth

Equal parts mushroom, patchouli, and decaying leaves from a forest floor. Do not consume.

Air

Equal parts dried eucalyptus leaves, catnip, and apple. Do not consume.

Fire

Equal parts clove, sandalwood, and rosemary. Do not consume.

Water

Equal parts willow, sage, and basil. Do not consume.

Spirit

Equal parts rue, oak, and honeysuckle. Do not consume.

I also make a different type of condenser that I refer to as a spatial condenser as it cues me into a location rather than a specific element. This is done by making a decoction from material harvested under a full moon from three trees that are local to a particular area. This can be bark, leaves, wood, twigs, etc. Instead of damaging a living tree, I typically use something it has shed. For instance, I have made one for my home, which allows me to tap into the location and the spirits found there whenever I travel. I made one for the mountain that is close by because I work so often with the spirits there, and it gives me access to them regardless of where I am.

Condensing Divine Quintessence

As a witch, you will likely make some special connections with divine beings. Our gods are our friends, our allies, and on occasion our masters, depending on your type of devotion. As you have guessed by now, I work with Diana and Dianus as the Witch Queen and the Witch King. I have done my best to describe them in my previous writings, but it is really quite difficult to express who these beings are to anyone. No two witches are alike, and no two connections to the divine are alike. I can present them to my readers archetypally, I can describe them down to every detail, but I could never find the words to describe them intimately. Another Dianist (someone who holds Diana as a central goddess) who has an equally intimate connection to Diana will likely describe her in very different terms. Even though we worship the same goddess, she is known differently by us both.

I remember watching two people who were both devoted to Hecate get into an intense argument over the right way to pronounce her name. Before too long they were cussing each other out and developed a years-long feud between the two of them. What bothered me the most about all of it is that they were both wrong—wrong because they felt they knew Hecate so well that they denied the other’s relationship to her as valid. In the end, it didn’t matter who was pronouncing her name correctly; they both came out losers from this one. Both of them had a relationship to Hecate, but relationships are intimate, and they both knew a different side of her or were at least tapping into the egregore of Hecate in different ways.

The way a divine being presents itself to you will change as you change, and your first and only priority is to watch and interact with it as it unfolds. These individual expressions are what we refer to as your “personal gods” or “personal spirits.” The mysteries between your personal spirits are yours and yours alone, and you should always keep in mind that others will have the same. My Diana, the Witch Queen that I know, is and should be different from the one you know. I have had over twenty years of praying to her, working through life’s issues with her, and developing something unique. You can never have what I have, but you can have something better: your own connection to her.

I bring this all up because personal spirits are our lifeline to the Divine. Once you have bonded with a spirit and have a personal connection with them, you can work with that connection to further your craft. Divinity is all around us, but when we want to tap into the specific divine frequency that we are personally working with, we must first condense or distill it. This helps us to better define the frequency we are psychically tapping into, and, as with crystals or herbs, helps us to anchor that specific energy into our work. We can condense divine quintessence by creating what we refer to as a simulacrum.

Simulacrums are like fetishes or statues that are constructed to be the anchor for a divine spirit. Creating a simulacrum is no easy task, as it is done in several stages over one year and one day of devotional work to that spirit. In my tradition we create two simulacrums, one for both the Witch King and the Witch Queen. Channeling and then condensing divine quintessence is no quick task, however. The idea is that over the course of that year and a day we are channeling and calling upon the power of our personal gods through prayer, service, and acts of devotion. During this time we are building those deeper bonds and are constructing the individual pieces of the simulacrum with the quintessence we find as a result of that study. When the working is complete, we have a miniature version of our personal gods, one constructed over time that harnesses different aspects of our gnosis and journey to better understand them. Simulacrums are like houses that embody our personal gods and resonate with their specific vibrations.

The following are instructions on how to make a simulacrum for the Witch Queen and Witch King. To be clear, they each get their own simulacrum! Don’t be afraid to add to the things that represent your personal connection, and think of each stage as a step along the path to strengthening your bond to your personal gods. Altogether there are thirteen stages of making a simulacrum.

The Simulacrum of the Witch Queen

During the construction you will be asked to burn Witch Queen incense. This is easily made by combining equal parts myrrh and amber over charcoal.

You will need:

Stage One

sigil

witch queen’s
master sigil

Stages Two Through Eleven

Stage Twelve

Stage Thirteen

Her simulacrum is made in stages and should be assembled with great care and preparation. Each stage represents a different aspect of your relationship to her, and as you assemble it, you will be forging your bond with her and clarifying your connection, aka condensing her divine quintessence. In totality, it will not be completely functional until one year and a day after its consecration; though you will be able to use the simulacrum at any stage in your work, it just won’t be completed until the final stage. This is because in the final stage you are dedicating your magic and your life to her, which only will be proven real after a solid year of real dedication. This means you have to show up, do the hard work of mediumship and soul flight, and truly devote yourself to her. Over this time, you will have many conversations with her, you will unravel incredible mysteries, and, most importantly, you will become a better witch.

In our tradition each simulacrum is unique and treated with the utmost respect. Specific blessings and rituals are performed over them by our clergy that further imbue them with power and magical strength, but before those rituals can happen, each student must first complete the year and a day of ritual work on their own and then present their simulacrum to their teacher. The teacher, having the skills to do so, taps into the simulacrum’s energy and determines if it is powerful enough or if it needs more. This is because we are working with very tradition-specific entities with particular standards.

You will be working with your personal Witch Queen, who is unique to you. Again, the spirit of the Witch Queen that is fusing with this simulacrum is a unique emanation of her, one that is revealed to you and you only. Even in our tradition, with its strict rules surrounding the mysteries of the simulacrum and the specific spirits that go along with them, we still see this relationship as being of chief importance. Despite the other works we do, the work related to the identity of your personal Witch Queen is essential for further progression into the mysteries.

Stage One

Assuming you have aligned your energy and prepared yourself for magical work, light the Witch Queen incense and set it to the side but keep it close. Collect the rose hips, snake shedding, soot, Queen Elizabeth root, myrrh, moonstone or bone, and the parchment with her master sigil drawn in black; place them all to the side. Light the three candles and place them in the shape of a triangle before you. with the black candle to the bottom left, the white to the right, and the red to form the peak.

Note: You will be required to draw a drop of blood toward the end of this; be safe and sterile. I recommend the use of single-use diabetic lancets as they draw enough for just one drop of blood and are safe to throw away afterward. The only acceptable substitute for blood that is drawn as an act of personal sacrifice is semen or menstrual blood.

Place the jar in the center of the three candles and then gather your ingredients, which you have already placed off to the side.

Next, one by one put them in the jar, breaking only to wash your hands at the end. As you place the rose hips in the jar, say, “By the Throne of Within, I call her spirit.” As you place the snake shedding in, say, “And see through the glamour of mankind.” As you place the soot in the jar, say, “By the Throne of Below, I call her spirit.” As you place the Queen Elizabeth root in the jar, say, “And raise it from the great abyss.” Place the myrrh in the jar and say, “By the Throne of Above, I call her spirit.” As you put the stone or bone in the jar, say, “And draw her light-darkness from between the stars.”

After washing your hands, take her master sigil and place it before you, then draw a drop of your own blood and dress the center of the sigil with it. Fold the paper over four times, rotating clockwise each time and chanting “Witch Queen!”with every turn.

Place the folded parchment in the jar and say, “By the river of blood and the lonely road, I bring your spirit from my flesh. Be here now and make this your home!” Put the lid on the jar and then hover it over the smoke from the incense and say or sing her hymn.

The Hymn to the Witch Queen

From black to red and red to white, she is the mistress of the rite.

Part of one, but nine is she; the mother of the witch’s tree.

Hail the crescent and circle round; she is the mother I have found.

From the crossroads and the sea, our lady sets me free!

From black to red and red to white, granting all the witch’s sight.

Part of one but nine is she; the mother of the witch’s tree.

Hail the crescent and circle round; she is the heavens and the ground.

From the crossroads and the sea, watching over and guiding me.

From black to red and red to white, guiding all souls in flight.

Part of one but nine is she, the mother of the witch’s tree.

Hail the crescent and circle round, through her wisdom I am crowned.

From the crossroads and the sea, she is the sacred key.

Place the simulacrum on your altar, make an offering of alcohol or tobacco, and wait. You essentially have the seed of a spirit in this jar now. You will need to feed and care for it by giving it regular offerings, visiting it often, singing the hymn, meditating with it, and including it and the spirit within it in your magic.

Stages Two Through Eleven

Throughout the following year, you must come back to the simulacrum and work with it during trance under each full moon. During each working, ask the Witch Queen to present to you a symbol that you can use to place in the jar to help you construct your simulacrum. After you retrieve the symbol, light the incense, as well as her three candles, and then draw the symbol on the paper. Fold it twice, each time moving in a clockwise direction, and then add it to the simulacrum. Seal the simulacrum back up, run it over burning incense once more, and then say or sing the Hymn to the Witch Queen before placing it back on your altar.

Stage Twelve

After you have completed exactly one year and a day’s worth of personal development and devotion to her, draw upon her essence by filling the remaining empty amount of the simulacrum with myrrh and seal the lid one final time, extra tight. Take the clay and use an appropriate amount to cover the lid and about one or two inches past the lid so that the lid will not be able to move once it has dried. Next, sculpt the face of a woman with a moon etched upon her brow and affix it to the top of the jar. As you do this, say or sing the Hymn to the Witch Queen. Place it back on your altar to dry for three days, visiting it and saying or singing the hymn each day.

Stage Thirteen

On the third day, if the clay feels dry to the touch, light the incense and the candles, and then paint the entire simulacrum white. As you do this, speak to the Witch Queen of your hopes and dreams and tell her what you need her help with. Let this dry. Next, paint the entire simulacrum red. As you do this, speak to the Witch Queen about your passions and the things you want more of. Let this dry. Paint the entire simulacrum black. As you do this, speak to the Witch Queen of your magical successes with her up to this point and your future plans. Let this dry.

Lastly, paint her master sigil on the front of the simulacrum in silver paint. Place this between her three candles and say or sing her hymn once again. The working is complete.

The Simulacrum of the Witch King

During the construction, you will be asked to burn Witch King incense. This is made by combining equal parts frankincense and amber.

You will need:

Stage One

witch king’s
master sigil

Stages Two Through Eleven

Stage Twelve

Stage Thirteen

Like the simulacrum for the Witch Queen, his simulacrum is made in stages and should be assembled with great care and preparation; all the same rules apply. In totality, it will not be completely functional until a year and a day after its consecration. You have to show up, do the hard work of mediumship and soul flight, and truly devote yourself to him.

Stage One

Assuming you have aligned your energy and prepared yourself for magical work, light the Witch King incense and set it to the side but keep it close. Collect the acorns, feather, soot, High John root, frankincense, the piece of antler, and the parchment with his master sigil drawn in white, and place them to the side. Light the incense and then the three candles and place them in the shape of a triangle before you, with the white to the bottom left, the black to the right, and the red to form the peak.

Note: You will be required to draw a drop of blood toward the end of this; be safe and sterile. I recommend the use of single-use diabetic lancets as they draw enough for just one drop of blood and are safe to throw away afterward. The only acceptable substitute for blood that is drawn as an act of personal sacrifice is semen or menstrual blood.

Place the jar in the center of the three candles and then gather your ingredients, which you have placed off to the side.

Next, one by one put them in the jar. As you place the acorns in the jar, say, “By the Throne of Within, I call his spirit.” As you place the feather, say, “And see through the glamour of mankind.” As you place the soot in the jar, say, “By the Throne of Below, I call his spirit.” As you place the High John root in the jar, say, “And raise it from the great abyss.” Place the frankincense in the jar and say, “By the Throne of Above, I call his spirit.” As you put the antler in the jar, say, “And draw his light down from the stars above.”

Take his master sigil and place it before you, then draw a drop of your own blood and dress the center of the sigil with it. Fold the paper over four times, rotating clockwise each time and chanting “Witch King!” with every turn.

Place the folded parchment in the jar and say, “By the river of blood and the lonely road, I bring your spirit from my flesh. Be here now and make this your home!” Put the lid on the jar and then hover it over the smoke from the incense and say or sing his hymn.

The Hymn to the Witch King

From white to red and red to black, from the gallows and the rack.

Part of one but nine is he; the father of the witch’s tree.

Hail the hoof and hail the horn, he’s the shade to which we’re sworn.

From dusk till dawn and shadow’s end, in his service I shall spend.

From white to red and red to black, from man to stag, then wolf and back

Part of one but nine is he; the father of the witch’s tree.

Hail the hoof and hail the horn; he’s the goat to which we’re sworn.

From dusk till dawn and shadow’s end, I am the Witch King’s humble friend.

From white to red and red to black, he is the leader of our pack.

Part of one but nine is he; the father of the witch’s tree.

Hail the hoof and hail the horn, the keeper of the oaths we’ve sworn.

From dusk till dawn and shadow’s end, it is through him that I transcend.

Place the simulacrum on your altar, make an offering of alcohol or tobacco, and wait. You essentially have the seed of a spirit in this jar now. You will need to feed and care for it by giving it regular offerings, visiting it often, singing the hymn, meditating with it, and including it and the spirit within it in your magic.

Stages Two Through Eleven

Throughout the following year, you must come back to the simulacrum and work with it during trance during each new moon. During each working, ask the Witch King to present to you a symbol that you can use to place in the jar to help you construct your simulacrum. After you retrieve the symbol, light the incense as well as his three candles, then draw the symbol on the paper. Fold it twice, each time moving in a clockwise direction, and then add it to the simulacrum. Seal the simulacrum back up, run it over burning incense once more, and then say or sing The Hymn to the Witch King before placing it back on your altar.

Stage Twelve

After you have completed exactly one year and a day’s worth of personal development and devotion to him, you draw upon his essence. Fill the remaining empty amount of the jar with frankincense and seal the lid one final time, extra tight. Take the clay and use an appropriate amount to cover the lid and about one or two inches past the lid so that the lid will not be able to move once it has dried. Next, sculpt the face of a horned man and affix it to the top of the jar. As you do this, say or sing The Hymn to the Witch King. Place it back on your altar to dry for three days, visiting it and saying or singing the hymn each day.

Stage Thirteen

On the third day, if the clay feels dry to the touch, light the incense and the candles, and then paint the entire simulacrum black. As you do this, speak to the Witch King of your magical successes with him and your future plans. Let this dry. Next, paint the entire simulacrum red. As you do this, speak to the Witch King about your passions and the things you want more of. Let this dry. Paint the entire simulacrum white. As you do this, speak to the Witch King of your hopes and dreams and tell him what you need his help with. Let this dry.

Lastly, paint his sigil (either common or master) on the front of the simulacrum in gold paint. Place this between his three candles and say or sing his hymn once again. The working is complete.

Journal Topics

Meditating on the topics presented here in this chapter, answer the following questions in your journal:

1. In this chapter we talked about activating and condensing different types of quintessence. What are types of condensed quintessence that you have worked with in your practice?

2. Our goal with every practice is to deepen our gnosis. How have the practices discussed in this chapter helped to inform your gnosis and how you look at energy?

3. What are natural locations where quintessence might be found? How would you condense it?

[contents]

6. Pearson, Treading the Mill.