The Nigromantisches Kunst-Buch is one of the most substantial German grimoires on demon magic. It appears here for the first time in English translation, complete with introduction and commentary. The work, which translates as "Book of Nigromantic Arts", has a mysterious history. It likely dates from the 17th century but has much older roots, as it contains various sigils with a Faustian feel.
We know that before its 1743 republication by the "heirs of Peter Hammer", the Nigromantisches Kunst-Buch was part of the monastery collection of Prince-Abbot Rupert II (Rupert von Bodman). He was a remarkable historical figure from a Swabian noble family, who played an active role in saving women accused of witchcraft. Rupert II was confirmed by Emperor Leopold as the Archmarshal of the Empress and had a role in European history as a co-founder of the Principality of Liechtenstein. How and where he obtained the Nigromantisches Kunst-Buch remains unclear.
This translation contains more than 80 original illustrations, mostly of magical circles and demon sigils, complete with their task descriptions. Unique are the sigils of the great infernal princes such as Astaroth, Be(e)lzebub, Belial(is), Oriens, Suria, and others. Additionally, this work includes Goetia-like listings of other, mostly unknown demons, such as Basclip, Walachy, Mirus, Gaimon, Buchermann, etc. This is alongside various other magical instructions, such as those for creating enchantments, magical circles, and the wand, as well as astro-magical information.
£69.99
£55.00
£195.00
Antiquarian
Out of print first hardback edition, limited to 350 copies only. Published by Kamuret Press 2021.
Condition: Fine, unread copy. Extremely minor crease to top right dustwrapper, otherwise completely pristine.
Edited, annotated and introduced by Richard Kaczynski, this edition far surpasses that found in the Collected Works: red and black ink has been employed to capture the feel of the 1904 edition; a 50 page introduction by Crowley’s foremost biographer introduces the reader to the many themes to be found throughout the book; finally, copious end-notes further elucidate concepts and ideas in need of clarification.
From the introduction:
‘The Sword of Song is arguably the greatest story never told. It is a book of firsts: his first manifesto, his first talismanic book, his first mystical essays, his first nod to sexual mysteries, and an enticing preview of what was to come in The Book of the Law, the spirit-writing that would form the cornerstone of his philosophy’.