In 1712 the last execution for witchcraft occurred in England; in 1714 witch trials were abolished in Prussia. In 1715 an Italian Jesuit missionary, Castiglione, arrived in China; in 1716 the Chinese abolished Christian teachings. In 1717 Freemasonry was formalized, with the establishment of the first Grand Lodge in London.
“America is seething with anarchy on every plane, because of the constantly changing economic conditions, the conflict between creeds, casts, codes, cultures and races. Society has never had a chance to settle down. The expansion westward, the discovery of gold, coal, iron and oil, the slavery question, the secession question, the constant flux caused by the development of technical science, the religious and moral instability, the conflict between federal centralization and state sovereignty, the congestion of cities, the exploitation of the farmer by the financier, the shifting of the economic centre of gravity, these and a thousand other conditions arising from the unprecedented development of the country combine to make it impossible even to imagine stability in any plane of life. There is thus a radical distinction between Europe and her daughter. We know more or less what to expect in any set of circumstances. Heterogeneous as we are there is a common ground of thought and action. We are even able to draw reasonable conclusions about Asia and Africa. London and Tokyo are sufficiently alike in essentials to make our relations intelligible, but in spite of the community of language, customs, commercial conventions, and so on, between London and New York, the difference between us is really more radical. There are many incalculable factors in any formula which connects the United States with Europe.”
— Chapter 75 from Confessions
There will be a launch party for Aleister Crowley: The Beast in Berlin: Art, Sex, and Magick in the Weimar Republic at Atlantis Bookshop, London, on July 31st 2014.
The Beast in Berlin… in London!
The Beast in Berlin
Art, Sex, and Magick in the Weimar Republic
by Tobias Churton
Thursday 31st July 2014 7pm
Gnostic poet, painter, writer, and magician Aleister Crowley arrived in Berlin on April 18, 1930. As prophet of his syncretic religion “Thelema,” he wanted to be among the leaders of art and thought, and Berlin, the liberated future-gazing metropolis, wanted him. There he would live, until his hurried departure on June 22, 1932, as Hitler was rapidly rising to power and the black curtain of intolerance came down upon the city.
Drawing on previously unpublished letters and diary material by Crowley, Tobias Churton examines Crowley’s years in Berlin and his intense focus on his art, his work as a spy for British Intelligence, his colorful love life and sex magick exploits, and his contacts with German Theosophy, Freemasonry, and magical orders. He recounts the fates of Crowley’s colleagues under the Nazis as well as what happened to Crowley’s lost art exhibition–six crates of paintings left behind in Germany as the Gestapo was closing in. Revealing the real Crowley long hidden from the historical record, Churton presents “the Beast” anew in all his ambiguous and, for some, terrifying glory, at a blazing, seminal moment in the history of the world.
Please note that this is a guest list only event so RSVP to this email or telephone 020 7405 2120 to ensure that your name appears on the Magick List!
I:MAGE 2014 – Travelling with Unfamiliar Spirits, the second exhibition of esoteric art from Fulgur, will actually be a series of events in London and online from October 21st through November 2nd, 2014, with art, events, publications and stories.
“The spirit world comes to life in this two-week-long celebration of esoteric art. The show’s theme coincides with the time of year: the beginning of the dark months. Popular culture calls it Hallowe’en but contemporary Witches and Druids across Europe and North America call it Samhain, Heathens Winter Nights, Greek reconstructionist movements Thesmophoria; Vodou practitioners celebrate Fete Ghede, followers of Santeria and indigenous religions in Latin America observe Día de los Muertos, while Welsh folklore advises staying away from cemeteries on Calan Gaeaf.
In most magical and esoteric traditions the end of October is a sacred time of year, a time for honouring the dead and communicating with the spirit world. It is a time to acknowledge the winter months and delve into the darker part of the year and of the self. The boundaries between the familiar and what is Other shatter. The veil is thin. The magic begins. For I:MAGE 2014, artists will explore what it means to communicate with spirits through art. They will give us a glimpse of a unifying theme across different esoteric practices and offer us the perfect opportunity to introduce you to a truly international show.” [via]
At the core is a selling exhibition hosted by Fulgur Esoterica that brings together an a number of international artists in the esoteric genre. That exhibition will take place at Cob Gallery in London and feature a number of artists.
Arrington de Dionyso
Barry William Hale
Austin Osman Spare
Of particular interest, for those not nearby London, may be the artist blogs but especially Veil of Dreams: A Pilgrimage through Icelandic Magic with Jesse Bransford and Max Razdow, an interactive esoteric art project which you can start following now and in which you can participate.
Artists Jesse Bransford and Max Razdow set out to inhabit the same dream space for six months, blog about it and travel across the world to tell the story. Their starting point: Icelandic Magic.
For the next five months Jesse Bransford and Max Razdow will use Icelandic magical symbols as a reference point to enter the larger dream divination space of the Seiðr traditions and to synchronise their dreams. The results are published here on a daily basis. The project will culminate with a pilgrimage: the artists will travel to Iceland to visit sacred sites, perform a series of workings and find physical correspondences with their shared dream experiences and then to London, where they will exhibit the journal, the original artworks emerging from the dreams and be interviewed about their experience. Be a part of their story. [via]
An irregular hodgepodge of links gathered together … Omnium Gatherum for June 18th, 2014
“Moon, clouds, smoke, skeleton hunt in the air” from Restoring the Lost Sense: Jun 12, 2014 — Craig Conley, Abecedarian
- The Beast is Back — Erik Davis and Maja D’aoust interview Gary Lachman, Expanding Mind
“Thelemic visions, magickal texts, and the tedium of transgression: a talk with occult historian Gary Lachman about his new biography Aleister Crowley: Magick, Rock and Roll, and the Wickedest Man in the World (Tarcher).”
- Theosophical Attitudes towards Science: Past and Present — Egil Asprem
As is typical for esoteric movements of the modern period, the Theosophical current exhibits a deep ambivalence towards the professionalized natural sciences. Active in the middle of the so-called “clash” between science and religion in the latter half of the 19th century, Blavatsky and the early Theosophists sought a critical reconciliation, guided by the quest for esoteric “higher truth.” The negotiation with science and religion was clearly present from Blavatsky’s first major work, Isis Unveiled (1877), which dedicated one volume to a criticism of each, and has continued to twist and turn in various directions until the present day.
“Science” is, in short, a centrally important yet ambiguous “Other” for the entire Theosophical current.
- Opting Out of the System — Inominandum, Strategic Sorcery
The “system” is a house of cards that is perpetrated by force and fraud. I think that taking a stand against that in terms of magic and lifestyle is a worthy thing. But just like I say to people that reject materialism as anathema to spirituality: You must really live that view for it to have meaning.
It is not a matter of your values and your magic being in line. It is a matter of making your life be about something.
- Where the Occult & Pagan Community Lost the Plot — Nick Farrell
The occult community is doomed to be hijacked by right-wing nut-jobs and other idiots because it has become paralysed by its own desire to be “spiritual.”
- Theater as Plague: Radovan Ivšić and the Theater of the Weird — Jon Graham, Weird Fiction Review
Like its counterpart in fiction, the theater of the weird exists on the margins of mainstream culture, where its deadly accuracy when targeting the shibboleths of the cultural consensus can be safely muffled before its subversive potency does any visible damage.
For Ivšić, theatrical space offers the ideal spot for opening that space within the spectator that allows experience of individual singularity not as a rupture, but as a vitally essential difference that makes it possible for the world to breathe. He saw the play as the result of a dark conspiracy between the world and the individual, who intentionally withdraws from this relationship in order to return by means of the Trojan horse of fiction.
- D&D Yoga — swi in collaboration with Sarah Dahnke and Eric Hagan [HT Erik Davis]
D&D Yoga can be played in many ways. The varying flavors range from that of a guided narrative while people do yoga to a far more interactive experience where players are in conversation and play a more active role in the campaign. For the first trial, we thought it would be wise to veer closer to the guided narrative side of things. Players still made decisions and rolled dice to dictate a few directions that the story took but generally we wanted to see how the experiment would play out and then build from there. As we proceed into future events we are building more interactivity into the game.
- Appeals Court Finds Scanning To Be Fair Use — NewYorkCountryLawyer, Slashdot
scanning whole books and making them searchable for research use is a fair use
the creation of a searchable, full text database is a ‘quintessentially transformative use’, that it was ‘reasonably necessary’ to make use of the entire works, that maintaining four copies of the database was reasonably necessary as well, and that the research library did not impair the market for the originals.
- «Dracula è sepolto a Napoli, ecco dov’è la tomba» — Paolo Barbuto, Il Gazzettino
«Il conte Dracula è morto a Napoli, è stato sepolto nel cuore della città ed è ancora qui»: c’è un gruppo di persone che da settimane percorre strade e vicoli a caccia del segreto.
E non sono ragazzini sognatori, fanatici, esaltati, ma serissimi studiosi dell’università di Tallinn in Estonia. Sono convinti di ciò che fanno, sostengono di avere già in mano i documenti che provano la verità, così hanno avviato una campagna di ricerche sul territorio.
“Count Dracula died in Naples, was buried in the heart of the city and is still here”: there is a group of people who for weeks along the streets and alleys in search of the secret.
And kids are not dreamers, fanatics, exalted, but very serious scholars of the University of Tallinn in Estonia. They believe in what they do, they claim to have already got the documents to prove the truth, so they launched a campaign of research in the area.
- From Algernon Charles Swinburne’s Songs Before Sunrise at “Save His Own Soul He Hath No Star” — Michael Gilleland, Laudator Temporis Acti
His soul is even with the sun
Whose spirit and whose eye are one,
Who seeks not stars by day, nor light
And heavy heat of day by night.
Him can no God cast down, whom none
Can lift in hope beyond the height
Of fate and nature and things done
By the calm rule of might and right
That bids men be and bear and do,
And die beneath blind skies or blue.
- “Two giant planets may cruise unseen beyond Pluto” — Nicola Jenner, NewScientist; from the where-is-your-astrology-now dept.
The monsters are multiplying. Just months after astronomers announced hints of a giant “Planet X” lurking beyond Pluto, a team in Spain says there may actually be two supersized planets hiding in the outer reaches of our solar system.
When potential dwarf planet 2012 VP113 was discovered in March, it joined a handful of unusual rocky objects known to reside beyond the orbit of Pluto. These small objects have curiously aligned orbits, which hints that an unseen planet even further out is influencing their behaviour. Scientists calculated that this world would be about 10 times the mass of Earth and would orbit at roughly 250 times Earth’s distance from the sun.
Now Carlos and Raul de la Fuente Marcos at the Complutense University of Madrid in Spain have taken another look at these distant bodies. As well as confirming their bizarre orbital alignment, the pair found additional puzzling patterns. Small groups of the objects have very similar orbital paths. Because they are not massive enough to be tugging on each other, the researchers think the objects are being “shepherded” by a larger object in a pattern known as orbital resonance.
- ‘A Funny Kind Of Relationship’ Alan Moore On Iain Sinclair — Nick Talbot, The Quietus
Whilst not quite a household name, instead occupying a liminal status maintained by a principled refusal to be involved in any Hollywood adaptations of his work, Moore is widely regarded as the finest writer in the medium, and it is difficult to imagine how the comic book landscape would look without the enduring influence of his exceptional work. But it is equally difficult to imagine how From Hell (1989), his first major work beyond the costumed vigilantes and superheroes genre, and also his Magnum Opus, would have looked had he not discovered the work of Iain Sinclair. A quintessential writer’s writer, Sinclair is a Hendrix-cum-Kevin Shields of the English language, mixing scholarly historical research, formal training and technical linguistic virtuosity with a wildly impressionistic, stream-of-consciousness prose-poetry delivery that is dazzling, dizzying, and for those with literary pretensions, frankly dispiriting in its apparently effortless genius. Sinclair’s subject is predominantly London, most often East London, and the relationship between its history, its continually shifting cityscape and the psyche of those who inhabit it. Sharing similar concerns, themes and stylistic flourishes with Peter Ackroyd, both with works appearing in the eighties and nineties, this uniquely East London-focused micro-genre came to be dubbed ‘psychogeography’. Soon complemented by Will Self and others, the movement could be interpreted as a response to the corporatist regeneration of London’s East End by the Thatcherite Conservative government in the 1980s. The spatial and historical density of London allows for an unusually potent and apparently limitless store of inspiration, but what marks out Sinclair in particular is his ability to see patterns, sigils and correspondences where perhaps the rest of us see dog shit, broken fencing and inane graffiti.
- “Eating Flower Spirits” — Sarah Anne Lawless
Summer flowers are brought inside, painted the colours of sarees and gypsy vardos, and fill tea pots and canning jars. Nighshade, poppies, red clover, comfrey, daisies, sage flowers, and foxgloves. Some from the yard, some escaped from gardens into the neglected back alleys of the old neighbourhood. I know that by taking them home I am consuming them, making their already short lives even shorter, but I try my best to ask sweetly for their blessings before I snip off their heads and bring them home. I try my best to let them know why and what will be done with their beautiful sacrifice – their souls burned up like incense to be eaten by my own beloved spirits – eaters of flowers.
- “What Athens Has Got To Do With Jerusalem: The Marriage of Greek and Jewish Themes in the Apocryphon of John” — Dan Attrell
This paper presents a summary overview of how the Apocryphon of John, an apocalyptic work drawn from the Nag Hammadi Library, is explicitly the product of an syncretism between Greek language/philosophy and Jewish mythology/mysticism in the 1st century CE.
- Coincidentia Oppositorum: Exploring the Dialogue in the Recent Historical Literature of Medieval and Early Modern European Alchemy — Dan Attrell
The study of alchemy has posed a number of complications for historians. Among historians of science who wrote as late as the mid-20th century, alchemy was perceived to be a mystical philosophy, an obstacle to the progress of „rational‟ chemistry, and even a pathology of the mind. This rather out-dated tendency toward knee-jerk dismissals has, however, been recently curtailed as the wider community of medievalists and early modern historians began to understand alchemy on its own terms, having placed it firmly within in the context of an ‘alchemical worldview.’ The recent dialogue among historians concerning alchemy in Europe has chiefly been directed toward (a) understanding of what ‘alchemy’ actually meant to the people who lived amongst it or practiced it themselves; (b) determining to what extent alchemy was interrelated with the religious consciousness of its practitioners; and most noticeably (c) reconciling or collapsing a number of exaggerated, artificial, and misleading dichotomies within our modern perceptions of medieval and early modern alchemy. Was European alchemy a ‘theoretical’ or a ‘practical’ art? Was it a ‘spiritual’ or a ‘material’ pursuit? Was it a ‘medicinal’ or a ‘metallurgical’ practice? How and when was ‘alchemy’ differentiated from ‘chemistry’? Were they ‘on the fringes’ of learned society, or were they at the cutting edge of knowledge as defined by traditional institutions? Were alchemists outright ‘frauds’ (Betrüger) or misguided ‘fools’?
These are all questions which a handful of historians have recently tackled and shown to be somewhat misguided. Such dichotomies arose from the dialogue of recent centuries wherein scholars and theorists from various disciplines began exploring and reconceptualising alchemy and its history; each angle, each discipline, each perspective offered some rather rigid model for understanding alchemy, and many of these models crystallized into opposing camps. Alchemy, however, was never a static or monolithic pursuit and thus eludes any attempt to give such simple definitions. In response to this problem, it is this paper’s goal to flesh out the most recent scholarly dialogue – to outline and synthesize the most pertinent points made in the recent historical literature concerning alchemy. What I hope to show is how the most recent historical research tells us that ‘alchemy’ meant many different things to many different people at many different junctures in history, even among the relatively isolated practitioners of Europe. With no source of official authority such as the Church or the University to govern alchemy as a branch of knowledge, the art was free to take on and accumulate a number of its practitioners’ idiosyncrasies. Free as it was, as a model to explore and communicate features of the known universe, European alchemy was a rich and dynamic practice which contained within itself all of the artificial polarities mentioned above.
- Rewilding Witchcraft — Peter Grey, Scarlet Imprint
We have mistaken social and economic change for the result of our own advocacy. Marching in lock-step with what used to be called mainstream, but is now mono-culture, we have disenchanted ourselves, handed over our teeth and claws and bristling luxuriant furs. I will not be part of this process, because to do so is to be complicit with the very forces that are destroying all life on earth. It is time for Witchcraft not to choose, but to remember which side it is on in this struggle.
- “London’s calling: the city as character in urban fantasy” — Ian ‘Cat’ Vincent, Spiral Nature
Each of these series draws on what I would say are the main characteristics of London’s soul. It’s old – continually inhabited since before Roman times; it’s powerful — but nowhere near as much as its past as the heart of an empire; it’s stubborn — enduring centuries of hardship and prosperity, adapting to huge changes in population and traumas ranging from plague to fire to Nazi bombs to the very modern stresses of wealth inequality. London changes — it has to — but there’s some core of its personality that always remains.
Of course, London as a whole is the sum of its parts, none of which are quite alike — the genius loci of Camden differs greatly from those of Catford and Chelsea. But each also touch the greater gestalt of the place. Inevitably, the best way to grasp the specific psychogeography of a place is to walk its streets.
- Weekly Apocryphote: June 8-14 — April D DeConick, Forbidden Gospels
You have not come to suffer. Rather you have come to escape from what binds you. Release yourself, and what has bound you will be undone. Save yourself, so that what is (in you) may be saved … Why are you hesitating?
If you’d like to participate in the next Omnium Gatherum, head on over to the Gatherum discussions at the Hrmtc Underground BBS.
Surrealism, Satanism and Witchcraft
16 May 2014
Surrealism celebrated Satan and the witch as powerful agents of social rebellion, and tonight’s speaker argues their inspiration came from Jules Michelet’s 1862 book La Sorciere, which was violently anti-Catholic as well as shockingly erotic. Some women Surrealists confidently cast themselves as witches, and the talk looks at three of them: Dorothea Tanning, Leonor Fini and Leonora Carrington. Dan Zamani is completing his PhD in art history at Cambridge; he returns to Treadwells by popular demand.
Time: 7:15pm for a 7:30pm start
Crowley’s Liber Nu
23 May 2014
Tonight a longstanding magical practitioner of Thelemic magic examines one of Crowley’s most magnificent ritual texts, Liber Nu (‘The Book of Nuit’, a rite for attainment of the Goddess Nuit) and relates the extraordinary experience of preparing and then performing the rite at Gosse’s Bluff in Central Australia. He goes on to interpret Liber Nu as Crowley’s “how to write and do a high magic ritual.” Bob Stein has been a member of O.T.O. since 1983 and has been involved with the organisation since then in a range of capacities.
Time: 7:15pm for a 7:30pm start
Abraxas 5 Launch Party
30 May 2014
Please join us for to celebrate Issue Five of Abraxas, the journal of esoteric studies issued jointly by Fulgur Ltd and Treadwell’s. We will have fascinating people, art, poetry and short talks. This issue has contributors worldwide on surreailsm, the Fellowship of Isis, Platonism, spirit-summoning, David Blank of the famed Oracle Magazine, an occult manuscript, Peladan, Bertiaux, and the wonderful ancient gods Antinous and Glykon.
Free, but please RSVP to email@example.com
Time: 7pm to 9:30pm. Short talks at 7:45pm
Elias Ashmole: London’s Forgotten Adept
2 June 2014
Elias Ashmole (1617–1692) is famed for founding the first public museum, the Ashmolean, a fact that overshadowed his importance in the history of occultism. He was the astrological advisor to Charles II, an early freemason, an alchemical secret-holder. He collected rare esotericism texts and even saved a fellow astrologer from the gallows. Tonight revives him from obscurity, celebrating his secret life. Ruth Clydesdale is a writer and astrologer with interest in the history of astrology and its links to magic, alchemy and art.
Time: 7:15pm for a 7:30pm start
Walking Tour: Occult London
7 June 2014 (and again on July 5th)
London’s secret occult history comes alive as you traipse the cobblestone streets of the West End, and you learn the secrets behind some of the area’s past magicians, witches and sorcerers: some famous, some infamous. Delianne Forget is a London registered Blue Badge Guide with a solid grounding in London history. A white witch herself, she also knows her cauldron potions from her good-luck charms. These tours return after a two year hiatus, due to popular demand.
Time: 2pm to 5pm, starting at a central London tube station. Look for the lady in the witch hat.
Aleister Crowley on Rock’n’Roll
19 June 2014
Join us for a summer party to celebrate the launch of Gary Lachman’s new book: Aleister Crowley’s influence on rock-and-roll giants from the Rolling Stones and Led Zeppelin, to Black Sabbath and Blondie, of which Lachman was a founding member. Gary will give an informal talk for about 20 minutes at about 7:45, and as ever we give most of the evening over to socialising, book-signing and gentle revelry. Please join us.
Free, but please RSVP to firstname.lastname@example.org
Time: Come anytime 7pm – 9:30pm. Short talk at 7:45.
Love Magic in Seventeenth-century England
20 June 2014
This talk explores the occult theories and magical practices which grasped both the divinity and madness of love. Al Cummins takes us into the world of elemental humours, psychological notions of the passions, and the spiritual and physical mysteries of the heart. We will delve into the love magicians’ toolkit, examining means of seduction: from aphrodisiac herbs to conjuring matchmaking spirits … and onto bindings, leashes, and “erotic malefic” workings. A vibrant speaker, Alexander Cummins recently completed his PhD from Bristol: he is an historian of early modern magic, astrology and the passion. He is also a professional poet.
Time: 7:15pm for a 7:30pm start
And, Treadwell’s comes to New York!
New York City — The Night of the Witch
25 June 2014
Two illustrated lectures on witchcraft in a vibrant double-bill. Witch Pictures — Pam Grossman and British Witchcraft — Christina Oakley Harrington.
Witch Pictures — Pam Grossman
The witch burst into Western art in the late 15th century and never left: the likes of Durer, Fuseli, Goya, and Blake used the image of magical women to titillate their patrons or reflect their own anxieties — with results both grotesque and beguiling. Then in the 19th century women took up the brush to create works inspired by personal occult experiences, reclaiming the witch, and we see a female ‘witchcraft’ in action in Abstraction, Surrealism, Modernism, making a corner of art history where craft and Craft are one and the same.
British Witchcraft — the Fifties to the Seventies — Christina Oakley Harrington
British Witchraft revived in the 1950s and 1960s. To the horror and fascination of the English press and public, some of these witches gave interviews and even allowed secret rites to be photographed. They wanted the world to know a non-Christian basis of ethics, a radical concept of the sacred, and the power of altered states of consciousness. Both tradition-based and forward-thinking, they were paradoxical yet compelling. Tonight’s speaker comes from the UK Wiccan community, and brings these characters to life and shares insights into their vision of the Craft.
Pam Grossman is the Brooklyn-based guiding spirit of Phantasmaphile, and was co-host of the 2013 Occult Humanities Conference at NYU. Christina Oakley Harrington is founder of London’s famed Treadwells Bookshop and a former academic; she also co-edits Abraxas Journal and gives occasional lectures.
“So this is the second weekend I will be screening 15 minutes of the feature film called Death Shard II. This feature length tale of darkest London and its Occult meaning will be out by the end of the year. What this means is not totally clear yet, but the film is almost complete. It is dense and uneasy viewing but seems to go down well with all audience members who saw it this weekend. I estimate 50 or so people saw it. 50 people sat and watch 15 minutes of it and no one complained. I must be doing something right. Do come see it. It seems to enthrall the people.”
The Art of Stephen Harwood: Visions of England – New Paintings inspired by the films of Derek Jarman will be at The Atlantis Bookshop, in London, from May 10th through 24th, 2014, with a private viewing on May 9th at 6pm, if you can get on the guest list, probably by contacting The Atlantis Bookshop directly, or heading over to the public event listing.
Stephen Harwood, a former pupil of David Hockney, is an artist exploring landscape and Englishness. His paintings fall somewhere between reality and fiction, focusing on locations that may be said to be loaded with past narratives and associations, landscape that in some way contains both the past and the present.
Stephen’s latest exhibition, Visions of England takes inspiration from the landscapes that feature in Derek Jarman’s films, and visits the empty expanse of Dungeness with it’s looming power station, the bucolic romanticism of Jarman’s Journey to Avebury, and the ruined urban wastelands of the Last of England. ‘I am interested in place that is in some way persuasive, with qualities that may not be immediately identifiable or explicable’.
It is the shaky spontaneous nature of Derek Jarman’s Super-8’s that form the backbone and much of the raw material for Harwood’s new work. In his hands the imagery from these films become archetypes for locality and Englishness.
There is magic in the air too, for Harwood is interested in an occult underpinning to Englishness ‘I also draw on locations possessed by occult atmospheres, or associated with myth and legend’. Jarman was himself interested in England’s mystical undercurrents, and it is fitting that the exhibition is being held in the basement of the Atlantis Bookshop in Bloomsbury, purveyors of mysterious books and magical tomes since 1922, and a regular haunt of Jarman’s.
Harwood’s previous exhibitions have focused on the landscapes of his childhood, and the current work is perhaps a further homage to Harwood’s own past. As a teenager Stephen corresponded with Derek and was a fan of his films. The resulting paintings are therefore perhaps emblematic of Harwood’s own experience. [via]
London’s Mystical Legacy by Toyne Newton and Jonathan Tapsell, from Salamander and Sons, apparently scheduled to be available in Aug 2012, but still in pre-order, will be available from Weiser Antiquarian, may be of interest.
Update 1jan2016: Jon Tapsell wrote to say London’s Mystical Legacy was actually published by Brutus Media. So, I’ve removed the old links in this post in favour of the new on in this update.
“London’s Mystical Legacy unmasks London’s true founder and spiritual father as Brutus of Troy. Toyne Newton and Jonathan Tapsell trace Brutus’ pagan lineage from its beginnings in Ancient Troy to its emergence in what became the City of London, and the pertinence of this lineage to the Crown. This controversial book looks at London’s lost symbol, the Dragon. Often considered the thirteenth astrological sign, the Dragon is also depicted as the Red Serpent, symbolic of the bloodline of Cain progressing from Near Eastern Lands via the Mediterranean to present day London and the City Banking Cartel.
London’s Mystical Legacy looks beneath the veneer of many London traditions including Gog and Magog, the siting of Parliament, the symbols of the Exchequer, the City Livery companies, the Knights of the Garter, and the mysterious Committee of 300, and demonstrates how all are being controlled by the Crown based in the Square Mile — quite distinct and far more powerful than any monarch, President or government.
London’s Mystical Legacy rediscovers how the City of London was geomantically aligned since Pagan times upon Brutus’ temples, and whose secret knowledge was resurrected by Wren. Newton and Tapsell show how all English law is based upon the Malmutius Code — itself a remnant of Brutus’ edicts — and explain the origin of the Law of Sanctuary and why the London Stone (or Brutus Stone) is so important to the capital’s destiny.
Many famous characters are seen here in a new light: Shakespeare, Bacon, Dee, Wren, Blake, Churchill, Crowley, kings and queens, but perhaps most sensational of all, Louis Lord Mountbatten’s apparent connection to the powerful spell to repel Hitler: a wartime occult ritual enacted by a group of hereditary witches using an ancient rite.
London’s Mystical Legacy brings together much hitherto unknown knowledge and established tradition to present a bold new unorthodox history which explains why London — the City of Brutus — is central to world events.”