From ancient times to the present, humanity has wielded a plenitude of formulae for the making and manipulation of magical images. In esoteric traditions where image magic is particularly deep rooted, the most prevalent motif is the poppet, that doll through whose agency the witch gains influence over the enfigured victim. Though such effigies popularly exact their curses by point of thorn and pin, image-magic includes far more than vengeful maleficia, being a complex sorcerous art also including healing, love, sexual power, fertility, protection, and magical knowledge. In its highest forms, the ensouled effigy serves as holy Icon. These divine images, lovingly carved by the priests of many faiths, make present the multitude of gods on earth, becoming the focus of that form of veneration known as idolatry.
Although often considered the preserve of magical and priestly adepts, great tradition attends also the making of poppets by common-folk, whether Christian or heathen, high or low-born. This folk knowledge was especially sought out in times of great desperation, the resultant manikins used to magically improve man’s lot and wreak revenge upon his oppressors.
Many years in the works and thoroughly researched, Effigy is an exhaustive compendium of image magic, viewed particularly through the lens of witchcraft, and the sorcery and folk magic of Britain. As a cartography of magical simulacra, it meticulously examines the broad range of magical effigy types, their materials and methods of construction, as well as the spells used to awaken and empower them. The whole is enriched by practical receipts taken from the author’s personal notebooks, and arresting original images.
Effigy is 560 pages, printed offset lithography on heavy uncoated stock, and illustrated in colour throughout. It has been issued in three editions:
A standard edition in cloth and colour dust jacket, limited to 729 copies.
A deluxe edition of 63 copies, quarter bound in mahogany goat, with special endpapers.
A special edition of 27 slipcased copies in full mahogany goat and marbled endpapers, signed by the author, now.