In addition to the five main symbols, it is possible, also, to subdivide these into twenty-five subelements. For example Vayu of Prithivi would be the Air aspect of Earth and would be portrayed as a small blue circle on a larger yellow square, thus:
Vayu of Prithivi
In this way, it is seen that each of the five elements has five aspects composed of four sub-elements plus itself. A little thought will show the value of this manner of looking at the elements. To continue to use Prithivi as an example: Prithivi of Prithivi (Earth of Earth) is obviously as earthy as one can possibly get - very dense, heavy and slow. On the other hand, Apas of Prithivi (Water of Earth), whilst retaining the earth quality underlying, is a much more fluid, less rigid aspect of the element, and the possibility of movement is vastly increased.
Vayu of Prithivi (Air of Earth) is less rigid still - movement is quite rapid, and the whole aspect of Earth is very different from the preceding two aspects, although still 'of earth'. Tejas of Prithivi takes the process a significant step forward and is decidedly more volatile than the others, whereas Akasha of Prithivi (Spirit of Earth) can really only demonstrate its underlying earthy quality by contrast with the other aspects of Akasha!
The same comments apply to the different aspects of the other elements.
It will be seen from the foregoing that the magician who experiences all the sub-elements has a much deeper understanding of and familiarity with the Elements than the magician who attempts to work Elemental Magic with the all-embracing undifferentiated five. It gives him a greater choice of working medium - he can be very much more precise about his intention and the direction of his ritual: the ritual in consequence has a far greater chance of success.
But, as in all magical work, contact with and experience of the Tattwas takes discipline and hard work, and should not, therefore, be undertaken lightly.
In order to experience the Tattwas, the following preparation is needed.
a. A card for each of the elements with the symbol painted on it, large enough to be seen clearly, and in an unambiguous colour.
b. A blank white card, screen, or wall.
c. A note-book or the Magical Diary, (1) with a pen to record the results of each working.
d. A place or room where one can be undisturbed for regular periods, and a comfortable chair, or if the practitioner prefers, a comfortable asana on the floor.
 The Magical Diary should by now have the daily record of your practice with the Lesser Banishing Ritual of the Pentagram plus the results o f several geomantic divinations.
The following procedure is followed:
1. Clear the space by using the Lesser Banishing Ritual of the Pentagram (see Appendix I).
2. Place the card bearing the chosen tattwa symbol i n the appropriate Elemental quarter at eye-level with the blank white card beside the symbol. Alternately, hang the symbol next to or on the white screen or wall.
3. Sit down facing the symbol relaxed but alert, and gaze for a time at the symbol - not straining, but not allowing the attention to wander.
4. Switch the gaze smoothly from the symbol to the plain white surface and notice that the transference of the symbol is in the complementary colour on the white surface (eg Tejas, the red triangle would transfer as an apple green triangle).
To begin with, it is as well to practise this much only, for a while, with each of the symbols of the elements and sub-elements, until one is thoroughly familiar, not only with the straight appearance of the symbols painted on the cards, but their complementary appearance on the white surface. Once this stage is reached, a little more practice will make it p ossible to visualize the symbol in the mind's eye, and change it into its complementary version, thus o bviating the need for the cards. Assuming facility to this standard, the ritual proceeds as follows:
5. Holding the complementary image of the tattwa firmly in the mind's eye, enlarge it to door size.
6. Imagine yourself passing through the symbol doo rway leaving your seated body behind.
7. Look out beyond the 'door' and see what is there. After a little practice it is possible to move further away from the door and explore the elemental/astral terrain beyond the 'door'. If you do venture into the landscape, be sure to return back the same way t hrough the symbol-door.
8. Upon returning switch the complementary colour" back to the original colour of the symbol and visualize the door closing behind you, thus establishing your return to normal conditions.
9. Then shrink the 'door' to symbol-size, and perform a ritual gesture to signify the end of the working. (A clap, or a stamp with the foot.) "
10. Close with the Lesser Banishing Ritual of the Pentagram.
11. Most importantly, write down a detailed record of the results of the experience.
This kind of working takes a lot of time and trouble to do properly, particularly if all twenty-five subelements are skryed, but the persevering and disciplined magician finds that by and large his increased understanding of the elements not to mention his extended skrying abilities and his consequent greater competence when working with them, well repays the effort expended.
It especially pays dividends when the magician comes to consecrating his Elemental weapons, the subject of the next chapter. During this consecration each of the sub-elements is invoked so that each weapon is completely charged.
One of the main things to remember about tattwa visions is that they are very fundamental and basic; to give way to glamourised fantasy surroundings would almost certainly ensure the operator's disappointment.
They must, for best results, be taken on their own terms, and experienced in this way are rewarding beyond expectation.
The Elemental Weapons are the four basic instruments of the magician and are representative of the Four Alchemical Elements: Earth, Water, Air and Fire. The attributions of the Weapons to the Elements has for a long time laboured under the ascriptions given by the Golden Dawn which associated them as follows:
Wand - Fire Dagger - Air Cup - Water Pentacle - Earth
However this incorporates a blind, and in fact if these attributions are considered in depth it will be seen that for some reason the two active weapons, the dagger and the wand, have been interchanged. (1) The weapons may be characterized as follows:
1. The Dagger (Fire) is a weapon made of iron or steel, forged under heat, sharp and incisive like flame. As it is a weapon, it is associated with Mars whose colour is red, the colour of fire. Additionally the Golden Dawn attribution of the Elemental Weap ons to the Sephiroth incorporated the same blind, so that despite hitherto published ascriptions, the Da gger is in fact a Weapon of Tiphareth, symbolic of sacrifice and the death and resurrection themes associated with this Sphere.
 This does not mean that your weapons will not w ork if the above ascription is used: of course they will if they have been properly consecrated, but usin g them will be somewhat like trying to batter someone to death with a dagger or stab them with a staff. Hard work.
2. The Wand (Air) like the Caduceus is part of the insignia of Mercury, the winged messenger of the gods. Mercury is traditionally associated with Air, and his patronage of travellers further confirms the attribution of the Staff or Wand to Air. The wand is the Weapon of Hod, Sephirah of Mercury and magic.
3. The Cup (Water) is obviously ascribed to Water Idecause of its very function. On the Tree of Life the Cup fits on Netzach where its Venusian associations support its emotional receptive and watery nature.
4. The Pentacle (Earth) is the most solid of the weap ons and provides a base, the ground for the operation of the other three elements. It is akin to the shield and it is basically a passive and defensive weapon. The pentagram, which is often used as a motif on the Pentacle sums up the union of the four Elements, just as earth is the union and physical manifestation of the other three Elements.
Manufacture of the Elemental Weapons
The Dagger (Fire)
Ideally this should be made by the magician from a piece of pure iron or steel, however it is not always practicable for the magician to completely construct his weapons himself, and as in the old grimoires, the magician was allowed to start with a knife which he had bought (although they go on to stipulate that he should then use this knife to manufacture the other weapons from scratch). In an indirect way the primacy of this weapon also indicates its ascription to the primary element fire. Assuming that the magician has bought a dagger or a knife, preferably with a plain hilt, it is now up to him to inscribe it.
This he can do either by engraving, etching, (2) or less satisfactorily, painting. The simplest inscription is his own magical name, or motto but for those who wish to take the procedure one step further, the following additional inscription of the Godname and Archangelic name of Fire is suggested:
Thee Wand (Air)
Eliphas Levi suggests (3) that the magical wand 'must be one perfectly straight branch of almond or hazel, cut at a single blow with the magical pruning-knife or golden sickle, before the rising of the sun, at that moment when the tree is ready to blossom. It must be pierced through its whole length without splitting or breaking it, and a long needle of magnetized iron must occupy its entire length. To one of the extremities must be fitted a polyhedral prism, cut in a triangular shape, and to the other a similar figure of black resin.
 Probably the easiest process, although not as aesthetically pleasing as engraving. The blade should be heated and (engraver's) wax melted evenly all over it, or alternatively it can be gently warmed and then plunged into a pot of liquid wax. The essence of this is to get a thin even coat on all the metal surfaces then, using a needle cut the letters into the wax thereby exposing the metal underneath. Be careful not to crack off any of the wax. If some comes off start the process again, using a thinner layer of wax. The third step is to leave the dagger in a dilute acid solution (spirits of salt from the local hardware shop will do) allowing it to eat into the metal exposed by the needle. Be careful not to leave it too long or the acid will start to eat laterally, or to expose the hilt and pommel to the acid. Lastly, melt the wax off the blade and polish the result.
 Eliphas Levi, Doctrine and Ritual Of Transcendental Magic. Rider, London. p259.
Two rings, one of copper and one of zinc, must be placed at the centre of the wand; which afterwards must be gilt at the resin and silvered at the prism end as far as the ringed centre; it must then be covered with silk, the extremities not included. On the copper ring these characters must be engraved:
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