Books by Melusine Draco Currently in Publication

Ignotus Press
Liber Ægyptius: The Egyptian Book of Magic (1998)
The Hollow Tree (1999 – reprinted 2001)
The Egyptian Book of Days (2001 – revised and expanded 2018)
Root & Branch: British Magical Tree Lore (2002 – expanded 2016)
Starchild I: a Re-discovery of Stellar Wisdom (2006)
CRONE! An Old Craft Witch’s Year (2017)
Old Year, Old Calendar, Old Ways (2018)
Wort-Lore: By Mandrake, Henbane and Adder’s Tongue (2018)


The Temple House Archive I: House of Strange Gods – novel (2015)*
The Temple House Archive II: Realm of Shadow – novel (2015)*
Temple House Archive III: Hour Betwixt Dog & Wolf – novel (2017)*

Moon Books – John Hunt Publishing imprint

Traditional Witchcraft for Urban Living (2012)*
Traditional Witchcraft for the Seashore (2012)*
Traditional Witchcraft for the Fields & Hedgerows (2012)*
Traditional Witchcraft for the Woods & Forests (2012)*
Traditional Witchcraft and the Pagan Revival (2013)*
Traditional Witchcraft and the Path to the Mysteries (2014)*
The Dictionary of Magic & Mystery (2012)*
The Coarse Witchcraft Trilogy ed (2013)
The Secret People: Parish-pump witchcraft, Wise-women and Cunning Ways (2016)
The Power of the Elements (2018)

plus Pagan Portals & Shamanic Pathways

Black Horse, White Horse (2013)
Aubrey’s Dog (2013)
By Spellbook and Candle : Cursing, Hexing, Bottling& Binding (2013)
By Wolfsbane and Mandrake Root: The Shadow World of Plants and Their Poisons (2017)
Divination: By Rod, Birds & Fingers (2018)
Pan: Dark Lord of the Forest and Horned God of the Witches (2016)
Hearth Fire: The Goddess in Traditional British Old Craft (2019)
Have A Cool Yule: How to Survive (and Enjoy) the Mid-Winter Festival (2017)
Western Animism: Zen and the Art of Practical Paganism (2019)

Axis Mundi – John Hunt Publishing imprint

Magic Crystals, Sacred Stones (2012)
The Atum-Re Revival (2013)*


Witchcraft Today – 60 Years On (2014) Moon Books
‘Traditional British Witchcraft’

Hands of Apostacy (2014) Three Hands Press
‘Spirits and Deific Forms: Faith & Belief in British Old Craft’

Witches Almanac (2016)
‘Belief in British Old Craft’

iPagan Witchcraft (2017) Moon Books
‘Faith & Belief in Traditional British Old Craft’

Seven Ages of the Goddess (2018) Moon Books
‘Beyond the Veil – The Goddess in Witchcraft’

Witches’ Almanac (2018)
‘Corvids – Friend or Foe’

What is Modern Witchcraft? (2018) Moon Books
‘Old Craft for a New Generation’



It is impossible to get very far delving into traditional British Old Craft without coming across a reference to the Ancestors – those enigmatic beings that lie at the very heart of the Tradition. Interaction with these spirit-ancestors as an invisible and powerful presence is a constant feature of Old Craft and they are identified as the Guardians, the Mighty Dead, the Watchers or the Old Ones, whose magical essence is distilled into the universal subconscious at different levels.  Regardless of creed, race or tradition, they represent culture, traditions, heritage, lineage and antecedents and trace the long march of history that our predecessors began.

The honoring of the dead and venerating their memory is a common root of all belief, with many cultures believing that the dead live on in another dimension, continuing to affect the lives of subsequent generations.  This concept of spirit-ancestors is an extremely ancient one, especially when it involves dealing with deceased members of a particular people or clan, and is still widely observed in Japanese Shinto, Chinese Confucianism and among the Australian aboriginal and native American peoples. In the West, we know from the prehistoric remains of the numerous earth-works that the indigenous people of the British Isles and the Celts honored their ancestors; and the earliest written observations are those of the Roman Paternalia (February) and the Lemuria (May), which later spread throughout the Empire.

The Egyptians began it all with the ‘First Time’ – called zep tepi  – the universal Golden Age ‘during which the waters of the abyss  receded, the  primordial darkness  was banished, and humanity, emerging into the light’, was brought the gifts of civilisation by the Urshu, the Watchers or Light-bearers, acting as intermediaries between gods and men.   The so-called ‘Building Texts’ from the temple at Edfu, record that the Seven Sages, the Builder Gods, the Lords of Light, the Senior Ones,  brought light, i.e. knowledge, to the people – all  descriptions  of  the  same  shadowy brotherhood.

Like many other ancient religious concepts, these have often been used (and abused) in popular culture, particularly in Madame Blavatsky’s Western esotericism, which emphasised the idea of an ancient and superior wisdom that can been found in pre-Christian societies but which was absent from the doctrines of established Christianity.  When those of a particular Tradition pass beyond the veil, their spiritual essence merges with the divine spirit of the Whole, which in turn gives these ancient Ancestral beliefs the continuing power to endure – even past their own time and place in history.

It therefore remains the duty of an Old Craft witch to ensure that the soul of any newly deceased can successfully join the Ancestors and keep adding to the strength of our belief, which, in many instances may already have endured for hundreds of years.  If when living, we cannot acknowledge and respect the Ancestors of traditional British Old Craft (or any other Path or Tradition) to which we claim to belong, then we will contribute nothing to the Whole when we die.   MD


Needless to say, much of what is referred to as ‘magical energy’ often depends on what lies beneath our feet and some geological formations are better suited for magical or creative working than others; an idea mooted by Dion Fortune in her novel, The Goat-Foot God. There are, of course, many different types of rock that make up the Earth’s surface and each of them will have certain positive or negative magical-creative properties.  Like all things magical, however, the Old Craft witch knows that nothing is as simple or precise as it seems.  Just as the outcome in all magical and psychic exercises depend on the personal chemistry of the individual, so the blend of individuality, ability and Earth energies can combine to produce the most extraordinary results.  And some things work better than others …

It is, for example, the quartz element of granite that reconnects us with the spirit of the landscape.  As an accomplished Old Craft witch and having a doctorate in geology, Meriem Clay-Egerton was fascinated by the fact that for millennia humanity and quartz had interacted with each other.  She wrote that our ancestors recognizing the qualities of quartz was evident from the studies of its usage, not region by region, but over the entire area of the British Isles: “Everywhere one looks there are clear distinct traces.  To people who know its potential it was clearly no accidental employment of any material to hand.  It was sought out for use.  Why?”

She went on to explain at some length that quartz was used prolifically at prehistoric burials sites and that there was an esoteric school of thought that the quartz enabled the living to contact spirit entities “when they were in a correctly attuned state”.  Standing stones (some of which are made of quartz, other may contain a high percentage of it) are accepted by magical practitioners as being able to act as conductors of ‘earth-force’, such as that encountered at nodal points for energy lines.  “A quartz stone, or stones with high quartz content, will often appear in such a prominent position.”

Once we understand that quartz is very abundant in slate, it is not difficult to see why this particular material generates so much earth-energy.  Magical and psychic working on slate packs a very distinctive punch, especially if the slate layers are close to the surface.  Chalk, on the other hand, generates its own particular kind of energy, which is why our ancestors built their most prestigious monuments on chalkland.  By contrast if we try walking through very heavy clay, it immediately becomes obvious why earth-energy is often ‘blocked’ or sluggish.  Magical working on clay involves a lot of magical generating techniques by the practitioner, and unless there is a considerable amount of experience to draw on, things may take a long time to come to fruition.  And despite all the wealth of crystals in the world, for the Old Craft witch, natural quartz should remain the most precious of all, since a quartz pendulum used for dowsing draws on an ancient knowledge for unlocking psychic power and seeking out information not easily obtained by any other means – especially contacting spirits of the landscape.





There is an increasing  tendency these days for groups and individuals to portray themselves as being more exciting, adventurous or more magically competent by covering themselves with the mantle of ‘Darkness’.   Let’s make no bones about it – there is no such thing as Black or White Magic, and the realms of Darkness and Shadow are an intrinsic part of everyday magical practice regardless of path, creed or tradition.

Once we fumble our way past beginner stage, we quickly come to realise that magic is a tantalizing system of opposites: black/white, active/passive, male/female, dark/light, day/night and that the opposite of ‘good’ isn’t necessarily ‘evil’ – or even lukewarm wicked!  And even once we reach the path of the Initiate, we find that things haven’t changed much, except that we now realise we know nothing and have to begin again by looking at life, magic and the Universe from a different perspective.

Nevertheless, there are elements of ancient magic that an old CoS colleague of mine once described as ‘Ooo-er magic!’  meaning that it had been modernized (or bastardised)  out of all recognition, and put across as being slightly risqué or risky, depending on how one viewed the practice.   The impression was given that certain deities, who were simply Underworld or Otherworld denizens, or had an unfavorable appearance, were hailed as the ones to follow, and those who were nervous about interacting with such energies might be better served taking up macramé.

And a good rummage around in the ‘darker’ aspects of the monotheistic  or Abrahamic religions is always good for a bit of ‘Ooo-er magic’ providing those you are trying to convince don’t bother too much with  research into the background claims of the participants. Where would we be, for instance, without the supporting cast of the Book of Revelations, the  Apocrypha and Pseudepigrapha?

A person’s magical inclinations are just that: personal.  They are governed by an individual’s own ethics and morality in what Meriem Clay-Egerton always described as forty shades of grey (long before THAT book came out).  My Welsh slate grey might be your black; your gun-metal grey might be my white – again, it’s all a matter of perception.

Practitioners of Craft magic  learn  to curse as well as heal but in all honesty, healing has probably caused more unintentional damage that all the cursers on the planet, if the latter could be persuaded to get up off their collective backsides to admit that they much preferred a nice bottling or binding because it is far less trouble.  All experienced witches learn to walk safely on the wild (or dark) side that they occasionally need to tread but they do it with a certain amount of fear and a hell of a lot of respect.  Because as that same colleague commented: ‘If you don’t feel that frisson of fear, you ain’t doing it right!’

So the next time you see an on-line promotion for those who enjoy walking on the dark side that reads as though it’s just come straight from ‘The Lord of the Rings’ … it probably has!


PAN: Dark lord of the Forest ad Horned God of the Witches by Melusine Draco is published in the Pagan Portals series of Moon Books in paperback and e-book format. ISBN 978 1 78535 512 7 : UK£5.99US$9.95  Available on Amazon or




New release: Divination

Divination is only a small part of a witch’s stock in trade, and although a basic introduction to the subject can be learned from books, proficiency will only come through vigorous practice. This proficiency comes through the discovery of certain secret matters by a great variety of means, correspondences, signs and occult techniques. Before a witch can perform any of these operations with any degree of success, we need to develop the art of seeing and the ability to divine with rod, fingers and birds. Divination is what could be referred to as the practical element of Craft magic, and we dont even have to be witches to be able to read the portents. But it helps! A companion volume to Pagan Portals: By Spellbook & Candle and Pagan Portals: By Wolfsbane & Mandrake Root, from popular Moon Books author Melusine Draco.

Due for publication on 31st August and available to pre-order from Amazon now …