Approximately two years ago I began a series of workings with Solar, Jovian, Martian and Mercurial entities to secure my financial situation. I will not go into details regarding the operations, as there are certain elements of my practice that I believe must remain sacred and in these cases silence is indeed golden. I will however share some of the material manifestations of these workings, primarily the fact that over this time I was able to secure the funds needed to purchase a decent sized home in a quite suburb of the city.
This house apart from being my home where I enjoy all the material distractions of mundane life, is also the location from which I intend to continue to improve upon my spiritual practice. There are areas of the house strictly devoted to my esoteric pursuits such as my Study that contains my ever growing library and all my spagyric herbs and equipment, along with a spare bedroom converted to a Meditation Room for daily practice. I also set aside an additional small semi-detached room for ritual practices and this is what I intend to share with you today. I have no reservation about sharing these photos given that they were taken prior to the consecration of the chamber and I hope that some of you may indeed find some inspiration for your own sacred spaces.
The Ritual Chamber
My sole purpose for this space was to create a sanctuary devoid of clutter and all unnecessary stimulation to use exclusively for evocations and other magical operations. I chose a small 12′ x 12′ cardinally oriented room adjacent to the main structure of the house with a western entrance opening to the garden.
It took a lot of manual labor to get this room cleaned and ready to paint. I had to remove shelving units and cabinets from the wall as well as the old flooring and then reseal, grind and clean the concrete. The next stage was to insulate the ceiling and walls in order to keep the temperature within the chamber stable during the winter and summer months. Apart from making it more comfortable, the insulation also helps in keeping the chamber silent by absorbing outside noises. I opted to take an extra step to guarantee the purity of the chamber by removing all the outlets, light fixtures, and wiring from the walls and ceiling. This was done to ensure that no uncontrolled electrical currents could interfere with the operations within. After patching the walls and ceiling I was ready to paint.
The color scheme of the chamber is basic but symbolic nonetheless. The floor is a matte black charcoal, the walls are a very lightly glossed grey, and the ceiling is a semi-gloss brilliant white. At each corner of the room I mounted a small oak panel fitted with an iron candle sconce. In the center of the ceiling I mounted a ceiling plate from which I am able to hang a candle lantern. These five points of light allow me to achieve many different lighting effects depending on the nature of the practice.
The final element that truly defines this chamber as my ritual space is the Circle of the Art. I have used and had success with variations of the Solomonic Circle from the Lesser Key in the past and it was the logical choice as a permanent addition to the floor. The circle is only slightly modified from that presented in the Lesser Key (see Solomonic Circle: Lesser Key); mainly, the names are derived directly from the Sefer Yetzirah and are spelled in Hebrew according to the text.
I should state that the act of preparing the chamber was a ritual in itself. I timed the operations to synchronize with the lunar phases. The removal of the shelves cabinets, flooring, and electrical components took place in the final week of the waning moon. This period is traditionally linked to operations of destruction paving the way for new beginnings – exactly the intentions driving my labor. The paints, brushes and sparse furnishings were consecrated at sunrise on the Wednesday (day and hour of Mercury) following the new moon using the consecrations from the Key of Solomon. I used the Consecration of the Ink for the paints, the Consecration of the Pen for the brushes, and the Consecration of Iron Instruments for the sconces and lantern. The tasks of finishing the chamber occurred over the weeks of the waxing moon. This culminated at midnight of the full moon when I performed the consecration and dedication rites of the chamber while the moon was at its zenith.
Few occult symbols evoke the sensation of a magical operation like the circle of the art. The circle defines the sacred space of the Magician. It is a veritable microcosm of the universe centered around the operator and functions as a divine fortress that protects those inside from all negative spiritual forces.
Of all the circles used in occult work, that of the Goetia or Lesser Key of Solomon is perhaps the most recognizable. Most quickly identify this circle with the version popularized by Mathers and Crowley containing bright colors and a serpent coiled around the circumference in which the divine names are written. What few realize is that there are actually many surviving versions of the Goetia – all with slightly different representations of the circle and the divine names within. Furthermore, the serpent is only displayed in one private codex .
The text itself defines the circle in one line: “The circle of Salomon is to be made nine feet across, & the divine names are to be written around it, from Eheye to Levanah.”
Eheye ( hyha) is Hebrew for “I am” and in traditional Kabbalah is the name of God assigned to Kether the first sefirot. Levanah (hnbl) is the Hebrew word for moon and is the planet traditionally assigned to the ninth sefirot, Yesod. All the manuscripts are in agreement that the practitioner is intended to write the divine names pertaining to the first nine sefirot around the circumference of the circle. These names can be found Agrippa’s Scale of the number ten. However, the first appearance of these names along with the presiding angels, astronomical sphere, and order of angels occurs in the Sefer Yetzirah  which Agrippa undoubtedly used to populate his table. 
The table below is provided for the reader to make their own decisions as to the names and their proper ordering. It compares three of the Sloane Manuscripts from the British museum alongside the names specified by Mathers and Crowley in their version of the Goetia. The major difference aside from the various spellings of the Hebrew names is the ordering within in each sefirot group. All three of the Sloane manuscripts correspond with Agrippa’s scale of ten where the order of the divine names is as follows : 1. God name, 2. name of the sefirot, 3. angelic order, 4. presiding angel, and 5. name of the astronomical sphere. The Mathers and Crowley edition alters this order by placing the presiding angel before the angelic order. Other differences such as the divine names used can be sorted out by using Agrippa’s Scale of the number ten, or if one prefers the Sefer Yetzirah itself.
- Aleister Crowley (ed). The Goetia: The Lesser Key of Solomon the King.Trans Samuel Liddel, MacGregor Mathers. (Boston, MA: Red Wheel/Weiser LLC, 1995).
- Joseph H. Peterson (ed). The Lesser Key of Solomon. (York Beach, ME: Weiser Books, 2001).
- Aryeh Kaplan(tran.). Sefer Yetzirah (Boston, MA:Weiser Books, 1997).
- Henry Cornelius Agrippa.Three Books Of Occult Philosophy. Trans. J. F. Edited by Donald Tyson (St. Paul, MN: Llewellyn, 1993).