Metadata » Aleister Crowley » Equinox » Volume I » Issue I » The Chymical Jousting of Brother Perardua With The Seven Lances That He Brake

Concordance » Aleister Crowley » Equinox » Volume I » Issue I » The Chymical Jousting of Brother Perardua With The Seven Lances That He Brake

Hermetic Library » Crowley » Equinox » Volume I » Issue I » The Chymical Jousting of Brother Perardua With The Seven Lances That He Brake

The Chymical Jousting of Brother Perardua With The Seven Lances That He Brake

Bill Heidrick describes the illustration, in the old document project file:

Illustration facing next page: Multi-color lithograph or metal plate resist work, effect like flat watercolors with heavy flat black and metallic overprinting. Colors include white, metallic silver, metallic gold, burnt orange, chinese red, grayish blue, dull medium brown (always associated with gold), straw yellow and dull veridian. There are seven figures on a dull black field:

At the upper right is a figure similar to Blake’s Urizen, but not holding a compass. The figure is shown in head, arms and either part trunk or left knee (obscured by the beard). There is a radiant of sharp petals of silver on white behind the head (five only are visible clearly, but parts of two others peak from the locks of hair). The hair of the head streaks out horizontally in four or more locks of gold and silver on white, accented in black. The face is closed eyed, done in red-orange stippling for the flesh with the features defined in gold and silver. The arms extend outward and very slightly downward, in silver accented by gold on white. The hands are displayed on the side, thumbs to the fore and held palm toward the bottom; they are suggestive of crab claws. The full beard dashes to the left in the picture, and is done in silver over white, accented mostly in gold but with some black accents near the chin. This figure emerges behind and above a loose tumble of ribbon done in brown-gold striations and scrolling. The Hebrew alphabet is done in silver on the ribbon, starting at the upper left with Taw and ending just above the pendant tip with Aleph thusly: Taw Shin, scroll up, Resh through Peh, scroll down, back scroll, scroll up to front, Ayin through Nun, scroll down to left again, back scroll, scroll up to front, Hebrew on this front Kaph to left, Yod to center, Tet to right, scroll down to left, Lamed, ribbon crushed at next level, Mem on left, Chet to right, scroll up out of crush below with Zain at a diagonal top to right on scroll, scroll down with face still presented, Vau to left and Heh to right, scroll crushed below, below this crush is a frontal fold, scrolled up from the left, down to the right and surmounted by the Hebrew letters left to right: Dalet through Aleph, below this the ribbon whirls in a downward left spiral horn of two loops to a point. — try reading that in one breath!

Ranked on the right edge in a column occupying the center half of the edge is a column of seven silver stars of seven points each, one point to top.

At the lower right, just above the tip of the serpent’s tail (described below) is a lion of Assyrian style between two outward arched crescents. The lower crescent is golden and the lion’s only visible hind foot rests on the center of the crescent. The upper crescent is silver and gripped by the lion’s left paw at the lower horn. The face of the lion is directly at but not touching the center of this crescent. The right paw of the lion touches the lower quarter of this crescent with talon tips only. These two crescents are so aligned that their horn tips could be connected by parallel lines about 45 degrees from the horizontal, upper to the left and lower to the right. The lion is green on white with gold accents, tail arched upward in a crescent and tipped in gold. The eye is red and the tongue extends in red as well. There are black accents about the edges of the mane and below the chin.

At the lower left, framed by the serpent to left and below, is an Assyrian winged bull, flank view and facing right. The fore quarters stand on a silver sphere, while the hind quarters stand on a gold cube in parallel projection with the full face to the lower left. The Assyrian king’s head is crowned and bearded as usual and colored in orange and and gold over yellow. There are two silver horns issuing from the back of the head and angling upward just above and past the temples — the horns are bull-like otherwise, and are only slightly curved. The wings form a bundle, more tucked under the back of the hair like a newspaper under an elbow than naturally rooted. These wings show only on the facing side, are blue and gold on white and have the usual shape for an Assyrian bull otherwise. They are fully as thick as the body and extend above it. The fore quarters are leonine in red and gold over orange. The hind quarters are taurian in gray brown over white. The bull is male, with a taurian tail hanging down below the hooves. The hind hooves are gold. The “saddle” of the bull is done in orange plates on gold. Across the bottom and on the left side is a predominantly red-orange serpent with yellow scutes divided by orange. The scales on the back are represented in red dots on orange and defined by silver and red. Eye in blue. Teeth dog-like in blue with black boning. The body makes seven tight loops separated by arcs on the left of the illustration, curves to make two and a half undulations across the bottom and arches downward in a semicircle at the upper left corner. Flames in yellow and red are associated with the head as: Three flames accented gold brown in the shape of the Hebrew letter Shin above head, directly above brow and eye. One flame from nostril, slanting upward toward top center of plate. One flame accented in gold brown pendant to chin like an old man’s beard. A gout of flame in four points issues triangularly downward from the mouth, and this is divided by a very forked tongue in gold brown (divides 1/8 inch from mouth and extends one inch past division point) such that the two outer points of flame are separated from the two inner by the fork. A golden dodecagram (twelve pointed star) in a ring is directly below the serpent’s head, situated such that the tongue of the serpent frames the upper arc of the ring and the head of the serpent appears in medium coeli like a nemesis above the wheel of fortune. The ring is divided into twelve silver and twelve brown-gold bands, with a red zodiacal symbol over each gold and silver band, gold to widdershins and silver to deosil. The star in the center points to each symbol. Aries is at top and the rest proceed Deosil around the ring.

In center is a star surmounted by the eye in the triangle. The star is in two modes: A large gold star of six narrow points with point to top is on top of a smaller silver star of six narrow points with two points dead horizontal. The silver star and the gold star create a sort of compass rose, and the silver star has its points filled with gold. The triangle is centered in the golden star, equilateral and apex at top. The triangle is gold with silver edging. The eye is a Horus left, gold on white. There are three silver teardrops edged in white depending from the vertices of the triangle and ablating toward the eye. Between eye, sides of triangle and tears are three sets of three each white rays, they touch nothing and the center ray in each set is very short.

The plate origin is identified under the lower right as: “CARL HENTSCHELL, LTD ENG; LONDON, E.C.”

This illustration accompanies the next entry, and is read with it in clock-wise fashion starting from the upper right. The illustration is known as “The Regimen of Seven”.