A glass sphere arrives in the post. It is beautiful, it cost real money, and nothing happens when you look into it. That is the expected outcome, and it is stated flatly: the apprentice should enchant the device with the proper magical procedure, otherwise it will not work at all.1 What follows is the longest single procedure in this whole curriculum. Eleven consecutive days at the same hour, a noon on a high place, four names written on cloth rather than glass, and then seven standing rules for the rest of the object's life. The consecration of a weapon takes an evening and a week of sun. This takes almost a fortnight of showing up.
The formula arrives as something inherited rather than invented — an ancient magical formula first used by medieval Wizards — and it is called quite simple to follow, which it is. Simple and long are different problems.
The specification is unusually precise for this material, and it starts with your hand. Get a moderate size, one that comfortably fits in the palm, between 45 mm to 65 mm. Anything you have to hold with two hands is the wrong instrument. Material is either quartz crystal or lead crystal, and the usual worry about flaws is dismissed outright. If the quartz has inclusions, these will not affect the ability to scry — and more than that, colleagues are reported as saying those inclusions have been crucial at some point in a reading. So the cloudy patch in a cheap stone is not a defect to be avoided; it may be the part that shows you something.
Colour is the one thing warned against, and only for beginners. Many wizards like a tinted ball, but it is not recommended at first, because the colours may prove distracting and a great deal of concentration is needed to work the crystal properly. A clear stone gives the eye nothing to settle on, which is the point.
The first step is physical cleaning done as a rite, and every part of it has a stated intent behind it. Clean the ball with warm water and a spoonful of salt, using a piece of clean cloth passed carefully over it several times. Then hold it under running water for about a minute, visualising the negative energies dissipating as the water runs. Then perfume it, either with incense or a spray of rose water.
The manner matters as much as the sequence. All of it is to be done gently, transmitting to the ball all of the positive energies and intentions, because good thoughts and good intentions are said to be favourable to this part of the process. Then the condition that makes this more than housekeeping: avoid doing any of these instructions under stress or emotional problems. Not do them carefully anyway — avoid them. The same rule appears later as the reason a session goes wrong, and here it governs whether the object is properly prepared at all. A crystal washed by an upset person is not neutral. It has taken the upset in.
The second step is where the four names arrive, and the instruction about where to put them is repeated twice because it is easy to get wrong. Take a large piece of white cloth about twelve square inches and place the crystal in its centre. Then inscribe the four Hebrew names, in Latin characters, around the ball. These inscriptions will not be made directly over the crystal ball's surface. They shall be inscribed over the surface of the piece of cloth.2 Then a second piece of cloth, of equal size, goes over the top.
The four are placed by direction. To the North, ADDAITESNI. To the East, IHPARATERESVH. To the South, AGEPITHEORLA. To the West, ADANTILEPHTHOUMEVN.
So the crystal ends up lying between two white cloths with a named direction at each edge — which is the altar's square again, at the scale of a tabletop, with the same four quarters and a different set of names in them. Nothing is written on the object itself. What is consecrated is the arrangement the object sits inside.
The third and fourth steps are one thing repeated, and the repetition is the operation. For eleven consecutive days, at the same hour, approach the ball with all reverence. The stated window is between 10:00 am and 3:00 pm. Pass incense across the room. Then unveil the ball using the secret words PAROYSIASTES PTARAP-PARPRAS, which are said to imbue it with actual power, and which refer to the magical spirits and celestial ministers which actually help the Wizard see things that are not normally apparent.
Then, with both hands at the sides of the ball, recite the long invocation — OH MIRUS PLURIMUS DIVINUS DEUX UNIVERSUM, EGO SUM VESTRI HUMILIS VERNULA PRO VOS and the rest — while visualising the energy of the Source Divine entering the device, filling it with divine intention and mystical power. The four names are named again inside it, and it closes on AMEN, FIAT LUX, VIDE UT SUPRA, VIDEO MELIORA.3 Now the sentence that makes the schedule real. Should something occur that the process needs to be halted, the Apprentice could re-initiate it from the beginning after thirty days.
Read the arithmetic. Miss day nine and you do not resume at day nine, and you do not start again tomorrow. You wait a month and begin at day one, which turns an eleven-day job into a forty-one-day one. And the reason it works that way follows from what is being built: the charge is not a quantity accumulating in the glass, or a partial charge would survive an interruption. What is being built is an unbroken series, and a series with a hole in it is not a shorter series. It is a different object.
That also explains the daylight window. Ten to three, at the same hour every day, for eleven days — which quietly requires eleven days in which you are at home in the middle of the day. Like the seven days of midday sun a consecrated weapon needs, the cost here is not effort. It is a shape of life.
The eleventh day is different from the other ten, and it moves outdoors. On that day, take the ball to a high place, and exactly at noon raise it while intoning the four names and PAROYSIASTES PTARAP-PARPRAS, several times over. While you do it, visualise the crystal being infused by the powerful rays of the Sun.
The sun turns up again, in the same role it plays in the weapon consecration and with the same logic: the last stage of making an instrument is exposure to something the operator does not control. Here it is compressed to a single moment rather than spread over a week, which makes it more fragile. Seven days of three hours can absorb a cloudy afternoon. One noon cannot.
Once consecrated, the object comes with standing conditions, and most of them are about keeping it shut. Keep it on a wooden base and covered by some heavy linen — the same cloths used in the consecration will serve. Once a week, cleanse it physically and magically: salt water and soap, rinsed under cool running water for three minutes, then perfumed with rose water or another fragrance of your choosing, with an In Nomine Deux Benedicto incantation performed over it.
Every single time it is uncovered, intone PAROYSIASTES PTARAPPARPRAS, because those words represent the actual process of asking the Divine to render the crystal a window into the spiritual realms. So the words are not a one-off consecration; they are the act of opening, repeated at every use. Cover it again immediately afterwards, and the reason is given in two parts. Covering prevents the ball picking up spurious energies, idle vibrations or psychic impressions lingering in the air — and it also actively removes the connection the wizard had with it, rather than leaving that connection open. Then the symptom, which is the most concrete warning in the section: wizards experience flash images, echoes, sounds and even voices after having used a crystal ball, and it happens because they left it uncovered where they were working.
Never use it with someone else in the room, because another person's energy pattern causes interference or faulty visions. Never use it during night time, because it can be tainted — many unknown entities, beings and spiritual forces roam at night, and they might make contact with the Wizard or project erroneous images, making them see, hear or think something wrong. And always pray first: prayer is called a weapon, a shield and an armour, lifting a powerful barrier that shields the operator from harmful effects, entities and beings.
The whole thing in order, with every number the source gives. Buy a clear quartz or lead crystal ball of 45 to 65 mm that sits comfortably in your palm, and do not mind the inclusions. Get a wooden base, heavy linen to cover it, and two squares of white cloth about twelve inches on a side. Then wash the ball with warm water and a spoonful of salt, rinse it under running water for a minute while picturing the negative energy leaving, and perfume it with incense or rose water — and do none of this on a day when you are upset.
Lay it on the first white cloth and write the four names around it: ADDAITESNI north, IHPARATERESVH east, AGEPITHEORLA south, ADANTILEPHTHOUMEVN west. The names go on the cloth and never on the glass. Cover it with the second cloth.
Then, for eleven days in a row, at the same hour between ten and three: pass incense through the room, uncover the ball saying PAROYSIASTES PTARAP-PARPRAS, put both hands at its sides, and recite the long invocation while seeing the energy of the Source Divine pour into it. Miss a day and you begin again in thirty. On the eleventh day, take it somewhere high and at exactly noon raise it, intoning the four names and the secret words several times while you picture the sunlight going into it.
After that, it lives on its wooden base under heavy linen. Say the secret words every time you uncover it, cover it the moment you finish, wash it once a week, never open it at night, never open it with anyone else in the room, and pray before every session.
The procedure, the names and the seven rules are asserted with no tradition named and nothing quoted, beyond the claim that the formula was first used by medieval Wizards. This is the Eldest Tradition warrant on the source stub. 🚩 SINGLE SOURCE, and 🚩 the medieval attribution is unsourced. 🚩 The four names are described as Hebrew names in their Latin characters, and none of them is recognisable Hebrew. ADDAITESNI, IHPARATERESVH, AGEPITHEORLA and ADANTILEPHTHOUMEVN read as Greek-flavoured constructions, and PAROYSIASTES is close to Greek parousia. Reported as printed.
⚠ Every name is given twice in this edition with different spellings — ADDAITESNI and ADDAITESNEE, IHPARATERESVH and YAPARATERESOH, ADANTILEPHTHOUMEVN and ADANTILEFTHOUMEON, PTARAP-PARPRAS and PATARAP-PARPRAS. In a system where a name is a number that resolves to a code, that is not a trivial variant. Re-check the plate before use.
⚠ The long Latin invocation is printed with separator marks that this edition's conversion renders as question marks between the names. The word order is legible; the punctuation is not. The Latin itself is not classical and does not parse cleanly.
Unresolved: nothing states what a halt is. Missing the hour by twenty minutes, missing a day entirely, and being interrupted mid-recitation are all left to the practitioner's judgement, with a thirty-day penalty behind the decision.
Follow the schedule and the crystal is made by discipline. Eleven consecutive days, the same hour, one noon on a high place, and a month's penalty for breaking the chain. On that account what the instrument holds is the operator's own persistence, and nothing else will substitute for it.
Follow the seven rules and the crystal is a fragile receiver. It picks up spurious energies from the air, it is spoiled by another person in the room, it can be tainted by whatever roams at night, and it has to be washed weekly and kept under heavy cloth. On that account the object is porous — it takes on whatever is around it, and the consecration protects nothing.
Both are in the same procedure. And they disagree about what the eleven days actually bought, since an instrument that can be ruined by an unclosed lid on a Tuesday has not been made durable by anything.
Talisman-Charging Protocol — Both traditions hold that an object does nothing until it has been charged, that charging is a definite procedure rather than a wish, and that direct sunlight is one of the things that will do it.
They differ on what supplies the charge. In the Akan protocol the source is a place: the object goes on the shrine overnight, or into the earth, the river, the ocean, the fire, or under the sun — and the practitioner chooses which cosmological source suits what the talisman should carry, and may combine several. The charging is a placement, and the object is put where the power already is.
Here the source is the operator's own attendance, and neither corpus notices what that costs. Nothing charges the crystal by being near it; what charges it is a wizard turning up at the same hour for eleven days running and saying the words. Which is why the two traditions treat a broken procedure so differently. A placement can simply be extended — leave the stone in the river another night. A series cannot be extended, only restarted, and the thirty-day penalty follows from that: the instrument is not storing sunlight or shrine-energy, it is storing an unbroken record of somebody showing up.
Sharpest implication. Break the sequence on day nine and you do not lose two days — you lose forty-one. Should something occur that the process needs to be halted, the Apprentice could re-initiate it from the beginning after thirty days. Nothing partial survives, which means what the eleven days build is the unbrokenness itself and not an accumulating charge.
Generative questions.