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Sep 19, 2012

Are the grimoires dead wrong? Part II of III






The second argument regarding the practicability of grimoires is that these books were meant to fail. The authors wanted the knowledge to remain secret,  for fear of the Church and for fear of misuse in beginners.

I’ve stated before that the Church did not treat mercifully the necromancers that used divine names and Christian elements in their conjuration as opposed to those who did not. The last category is practically non-existent. You did not get a slap on the wrist by putting prayers in your grimoire. You put prayers in your grimoire because you were a devoted religious man, seeking power through the use of holiness, depending on what religion you practiced.   Jewish grimoires contain psalms and prayers, Islamic grimoires contain extensive surahs from the Quran, and there was certainly no Jewish or Islamic Inquisition to please using these.




The knowledge was supposed to be secret, true. But grimoires were secret themselves. The Sworn Book of Honorius was passed down in a straight lineage of masters and disciples, and if the master could not do that, he would have had it buried with him. The grimoires we have today were not published in great numbers in paperback format and advertised to make a profit or to increase one’s notoriety. Secrecy of the content was not the issue, as very few people could read, and if they could make out the letters somewhat, they were not learned men to speak Latin, and even if they were part of the scholarly world or religious world and knew how to read and speak Latin, they must have had enough money to buy or have a book bound and enough connections to get access to magical manuscripts. One simply could not go online and look for spells, one could not go to the local library and look for books on magic. You had to find a practitioner and either pay him well for his book of secrets, like Wierius might have done to obtain the Liber Officiorum from Cockars and T.R., or apprentice under a necromancer in order for him to teach you.  

Their authors did not fear that people who could misuse them were to read them simply because they could control their readership. He wouldn’t even fear rival magicians. The readers were not a mass of unknown people with whom the magician had no contact, but a select few that the necromancer would make readers of his own will. 


The problem of the Church was not so strict. Many of the readers, writers copyists WERE clergymen or monks, part of the Church! There is no problem if the book might have been found by a priest or a monk, as many of them professed an avid interest in them, even collected them. The problem was if the wrong clergyman would find them. Only few were so stuck up and righteous that he would grab your book and accuse you of witchcraft. If this was done, the book itself would have been burnt as well, not kept and read. Few inquisitors did read the books and extracted information used in their letters of accusation, but then they would burn them as part of the judicial process. The ones who did keep books kept them secret and they were sympathetic to the use of magic and many monks sold their books for fear of being discovered by their superiors to other monks. This is how Johannes Trithemius could assemble such a marvelous library on magic in the  short span of time he was an abbot in Sponheim. 


The grimoires were not false advertisers, but personal notebooks. True. There were active schools of magic in Naples, Athens, Salamanca, Fez, Toledo, Rome and perhaps many more. Not every piece of information in the course was recorded by the student, indeed. The author in question argues that the grimoires contain a bare minimum and much was left out. Moreover, much was added to confuse people, created blinds and specifically wrote them so that they would not work.
The said author does not know how a grimoire was used, I’m afraid. The fault does not lye necessarily with him, this part is a commonly overlooked detail and a forgotten element that nobody seems to remember. The grimoire was not just a simple notebook, but a consecrated object meant to make the rituals work. The most important part of the necromancer’s arsenal was the Book of Consecrations. This contained all the names of the spirits with their characters, plus a set of nine conjurations to be performed every day in a ritual of nine days meant to empower it. His was no mere hollywoodian Book of Shadows, but a powerful object meant to make it’s content effective. 

 

And a summary and incomplete content would not do. The experiment was to be written in full, with conjurations and actions, in order to be effective. A blind or lie would not necessarily render the information invalid, but quite the opposite, funny enough, it would make the blind true!
The grimoires are not ineffective in themselves, as the modern practitioners do not use the said book, the very manuscript that the magician wrote and kept and consecrated on his knees for nine mornings with exhortations and suffumigations, but published versions of them. They do not construct a Book of Consecrations, out of lack of information or rejection of the proper way of doing it, but work from printed, on-line or oral material. Some exercises are not bound to that process and are certainly effective, but most are. For example, the Book of Consecrations states that all experiments are useless until the necromancer puts it in his book and recites the orisons to make it effective. More even, any corrupted experiment was made viable again if it be put in the Book. This is mainly why magicians were not so avid to look for the meaning and etymology of the words of power used, they did not care if they said or write Saday, Caday, Sadat, Saddai, Seday or Saclay instead of the Hebrew name Shaday. Because every experiment, no matter how corrupted, would have become effective once copied in their private consecrated book.
From this point of view, the use of a grimoire as it is is not ineffective, but the lack of a personal grimoire consecrated according to the tradition that the desired experiment refers to.

Aug 20, 2012

Are the grimoires dead wrong? Part I of III




As I was browsing through the many leaves of the magical tome called the Internet, I came upon a very concise and strongly-motivated article that detailed the authors main motives for considering the traditional grimoires ”dead wrong”. As I hold this occult practitioner in high regard due to what he has acomplished so far and respect his freedom of expression, but also value the traditional systems that have undoubtably been very effective in my practice, I decided to write an article countering the author’s reason of dismissing the said grimoires and also exploring a few missunderstandings related to them.  I am by no means writing a rebuttal aimed at this person or his school, as that has proved in many cases throughout history more counterproductive and unwise for all parties, but merely explaining my own motives for employing the traditional grimoires. 



1.   The Chriastian biased perspective.
The author claims that most of the grimoires we now possess are published or translated during or after the 15th century, in full power regime of the Catholic Church, thus the old conjurations to the gods and demons have been painted over with prayers to the Christian God, Jesus and the Virgin Mary.  

 Why is this assertion wrong, in my view? For two reasons: the first is historical and the other is confessional. The historical argument is that in every age, in every culture, the forces employed by magicians, especially demonic forces, were called upon, exorcised and put to work by the magician not in his own name and authority, but in the authority of a greater god, of a suit of powerful supernatural beings of similar but lesser godhood or of a long litany of ancestors with great merits, be they heroes, saints, magicians or otherwise. It is a natural process of magic to be moulded after the religious view of the practicioner. 

In the Egyptian world, the priests would call upon the higher gods and their secret names to force the lesser gods or the demons of the diseases to dispell or retreat. In Mesopotamia, the same thing occurred. In fact, the story of how Silik-mulu-ki, the god of healing,  came to the aid of men in defeating the seven evil spirit princes (Maskim) with the help of the most terrible and secret  name of his heavenly father, Ea, is not so different from how 17th century German conjurors employed the aid of the healing Christ by means of the names of the Father, to conjure and subject the seven Electors of Hell to the sorcerer. We cannot say that the Faustian conjurations, created in a Catholic environment, are simply Christian rip-offs of the Akkadian incantations, because there is a great gap between the two and no connection whatsoever, but we could guess that they are similar constructs meant to obtain similar results for two completely different people, separated by time, space and dogma. 

Even before the rise of the Catholic Church, the gnostics countered the evil actions of the malevolent Archons with the authority of Jesus, or some, with the authority of the veterotestamentary God of Abraham himself, IAO. Still before the rise of Christianity as a religious and political power, in the fourth century A.D., the Testament of Solomon tells of how the wise king Solomon, a key element in all subsequent magical books and sagas, compels the demons with the help of the Judeo-Christian God. 

The religion of Islam is no different: Arabic magicians hold grimoires  that have never seen the scrutinous eye of the Inquisition or of the Vatican, yet constrain demons and djinn by the use of mystical names of God and by the powers of their frustrating angels, such as Mikhail, Jibril, Ruqail and Israfil, the same ones that European treatises conjure. While the Catholic magician empowers his rituals and conjurations by the 100 names of God   and 72 names of Christ, the Arab empowers his with recitations of the 99 names of Allah and the 28 names of power of the Barhatyah Oath. Is it quite so unbelievable that the Catholic will use quotations from the Bible, namely Psalms and Gospels, while the magicians and sorcerers of Yemen use their surahs from the Quran? 



Every religion has it’  s magicians, and every magician appeals to the utmost source of power known to him, namely, the God of his tradition. It is with  good reason that the sage Abramelin advises Abraham of Worms (another author of a 15th to 16th century devotional grimoire that had nothing to do with the Church) to not change his religion.  He states that every man or woman can attain the secrets of magic, be they Pagan, Muslim, Mosaic or Christian, with the condition of not renouncing his religion for the sake of another. This means the Sumerian, the Greek, the Egyptian, The Syrian and the English magician can set in motion the same forces with the same results, if they stick to the tradition that is most suited to them and has been empowered by other magicians of his own kind by trial, error and oath. 

That is why most grimoires of the traditional kind do not work for a large number of their employants. It is not the grimoires that are dead wrong, but the approach of the practitioner.  They are being attempted by people desiring to change their content, replace their names with others, employ other spirits with the same methodology, affix GoldenDawnish rituals and pseudokabbalism to where there once wasn’t any and disregard their requirements. One of the first reasons why the traditional grimoires do not work is that they are not being attempted by people of a similar paradigm to the one of the author: German and Italian grimoires are attempted by non-Catholics, Jewish grimoires are attempted by gentiles, Arabic grimoires are attempted by non-Muslims and worst, Babilonian curses and rituals are being performed by living people... The same goes with secret orders: a non-initiate may do Golden Dawn rituals all his life daily, if he is not accustmed with the Order’s philosophy, beliefs, rituals and initiatory currents, he will obtain little but mental illusions. 

The most flagrant transgression is when a grimoire writen in the spirit of a religion is atempted by an opponent of that religion or by a skeptic. A Christian grimoire will never have any effrect with an atheist or with a satanist. A grimoire employing the names of the Judeo-Christian God can not be reversed engineered to resemble a pagan conjuration and achieve results accordingly, no matter how well attested our analogies are and no matter how clever our religios philosophy may be. A satanist wanting to put into practice the Goetia or the Grimoire of Honorius would have to do something quite agaist his beliefs, like renouncing  Satan formally in a Christian ceremony, much the same way the Christians of the Middle Ages would want to give themselves freely over to the powers of darkness renouncing their Christian God  formally, in ritual desecration of the Cross, the Holy Host or of certain icons. The two are quite similar and it is quite useful to study the history of such ritual conversions to uncover their mechanisms and utility, beyond that of theatrical amusement of the wealthy and bored.  

 This brings us to the second argument, that is the confesional one. The Catholics wrote the grimoires! Yes, some of them were. The Jews wrote them! Yes, some of them were. Pagans, Arians, Nestorians, Orthodox, Catholics, Jews, Muslims wrote grimoires.  We use mostly Christian grimoires, with overwhelming influences. Most of the God names of our Christian grimoires come from Jewish sources. Most of the spirits’ names, as well. Some spirits of the air, like those found in the „Heptameron” and the „Liber de Annuli”, such as Varcan, Sarabotres, Zaaba and Maymon, are simply Western interpretations of the seven kings of the djinn, such as Burqan, Shamhurash, Zawba and Maymun. The Martian spirit Samax of the „Heptameron” is called „Rubeus Rex, Filius Diabuli” (the Red King, son of the Devil), an exact translation of the Arab name of the Martial King of the Spirits, Malika Al-Ahmar, bin-Iblis. Does this mean that the original spirits were painted over with Islamic dogma? Not in the least.



 The grimoires in use in the West today were indeed written by Catholics. But they were not disguised as prayers or composed in such a way to appease the Catholic Church, they were written like that because of the belief of the practicioner in the power of the said prayer. There is no falsity in these grimoires, they were all written to serve the purpose they advertise of serving. There were not only a lot of Catholic practicioners, but almost all magicians of the Middle ages were exclusively monks and priests, as Richard Kieckhefer quite eloquently proves in a specially dedicated chapter of his work, „Magic in the Middle ages” called the Clerical Underground. 

The Church as a whole did not look upon magic and grimoires with good eyes, quite the contrary. When discovered, such books were confiscated and burned and their employers accused of witchcraft. Should the said grimoires bare the names of God, of the Virgin Mary, the Saints or Christ, or portions of the Roman Liturgy mixed with the conjurations, the sentence was not milder and the author was not forgiven, but even worse, he would have been charged both with witchcraft and heresy, along with other chages as using the Holy Sacrament in magic and taking the Lord’s name in vain. By putting Cristian elements in the rituals he employed, the Catholic magician did not seek the clemency of the Catholic Church nor an excuse for his magic, but quite on the contrary, he was risking a lot more than mere witchcraft charges.

Jun 20, 2012

Grimoire manuscripts

Well... time to put my talents to good use.

As I m raising money for my lionskin belt and ring, I ll be auctioning some stuff on e-bay.

Not just books, but unique manuscripts made by me, both bound and copied.

First on the list, for the collectors of the genre, would be Grimoirium Imperium.

It s not about the content, which is readily available to anybody, but about the fact that they will be created, crafted and written by a practicing mage.

Tell me if this sounds good.

Apr 13, 2012

Golden Lamen: II

 

This should have actually been Golden Lamen 0. 
It s my first attempt to gild a seal made of tin.

The Original seal of Camuel:



The tin seal,  melted, cast and engraved personally :




And the end result, gilded with common goldfoil mixture (mixtion, in my country s iconografic tradition):







Feb 4, 2012

The Iron Chafing Dish

My search within the Lemegeton magical paradigm continues.


The censer in the Abramelin operation is a bronze or brass vessel, the censers of the Clavicula Salomonis are in fact four earthen pots to be placed in the four quarter, but what about the first two books in the Lemegeton?


The Ars Theurgia Goetia, which I will work on, has the same practical implements that need  to operate the Ars Goetia. This one states:


The other materialls is [are] a sceptre or sword; a miter or cap, a long white Robe of Linnen, with shoes and other Clothes for ye purpose also a girdle of Lyons skin 3 Inches broad, with all the names about it as is about the uttermost round [part of the] Circle, & also perfumes and a chafin [chafing] dish of Charcoles kindled to put the fumes into; to smoke or perfume yee place appointed for action.
Quote:  Of The Arte Goetia, J. Peterson (Ed.)

Now The Ars Goetia and Ars Theurgia Goetia are not very close to the Key of Solomon in regards of ritual and materials, but rather to the Heptameron and the Fourth Book. It actually borrows most of its conjurations from the Heptameron, with very little modifications, if any.




The Heptameron, (J. Peterson ed.)  informs us that the vessel can be either earthen, or iron:


 THe fire which is to be used for suffumigations, is to be in a new vessel of earth or iron;

  He ought also to have holy water from a Priest, and a new earthen vessel with fire,


 I chose to go with the iron censer for this. Its perfect for the magician on the budget and it has other advantages as well. 


The idea of this kind of chafing dish came to my while I was constructing the Arabic pomegranate tripod, and it seemed appropriate to use the same principle.


For my test I bought two stainless steel bowls, quite cheap, from the marketplace:




Took out three metallic pipes from my ”I know I ll need this stuff later on so I won t throw it out” pile:


And used a metallic hoop from my weight-lifts to hold them in place.


 Spread the bars evenly in a triangular fashion, put some coals in and TADAAA:


 Shiny new Solomonic Chafing Dish! For the Grimoire purist o a budget!


The vessel  is light enough not to bend or break the legs of the tripod, it s not that heat sensible so it will not crack or break like the ceramic one, it will heat itself too from the coals so that any perfume dropped in that misses the coals will still catch fire and smoulder, and the legs are long enough to keep the canvas circle intact.



As for the burning duration of the coals, I ve lit those an hour ago and they still burn nicely, and the frankincense tears still burn very well and I don t even have to blow on them. I ll update this to tell you how long they stay lit, but an hour is enough for an evocation.

Update: the coals last about 3 hours. More than enough for the preliminary preparations, the conjurations, the evocation itself and questioning of the spirit and for putting on the expelling thimimiatae (banishing perfumes) after giving the license to depart. 

Feb 3, 2012

Book Review: Magical Treatise of Solomon

I finally received my copy of The Magical Treatise of Solomon. The leather edition!!! 



Of course, I could not afford this kind of treasure on my own, and my payment for this book was done in work. Many thanks to my benefactor for his kindness and understanding, who shall remain anonymous.

This book is absolutely amazing in every sense of the word: beautiful binding, flawless golden letters stamping, great graphic quality and huge amount of precise information.  





It s the eighth volume of Sourceworks of Ceremonial Magic Series published by Golden Hoard, translated by the very talented and knowledgeble Ioannis  Marathakis and forwarded by Stephen Skinner, and it should be its leading title since this treatise is the Greek origin of the European Solomonic Cycle, through the Key Of Solomon. 




It can be truly considered the missing link in solomonic literature, bridging the gap between the Testament of Solomon and the later works in the Clavicula Salomonis category, expelling the myth of the Hebrew origin of the Keys of Solomon in the European tradition.

The material is gathered from a number of Greek codices, unearthing information that has long thought to lie buried either in dusty manuscripts no one cold consult, either in special and scarece editions of scholarly studies.  



The information found in these manuscripts vary from one to another, but they contain basically the same information.
The most important tool that the artisan (magician) needs is the Knife of the Art. This is made from a iron that brought death and has a black handle made from goat horn. This is the granddaddy of the white-handled knife, the black-handled knife, the sword, the pen knife, the burin and of course, the athame. 

Contrary to modern pseudomagical neopaganistic views, this knife was not used to direct ”magical energies”, but had in fact quite a practical use.

Contrary to European grimoires that extended the ritual objects to the point of insanity, this tool served multile purposes with great success:
-it served as a tool to cut things
-it was the tool for tracing circles
-it provided a magical defense in some cases
-it sealedthe circle entrance
-it served as a burin (engraving needle)
-about a dosen more.

The Treatise goes on to say that the knife is used for killing and skinning the animals that needed to be slaughtered in order to make the parchment and the knife used to cut the reeds or feathers either for writing or for making the reed pen.

No blinds, no enigmas as to which tool should be made first, like in the Mathers Edition. 

The recepies might seem cruel and bestial, mixing various ingredients of mineral, animal and human provenence. It also clears away the answers to the blood in magic issue. Untill now, the exotic requests for the blood of various animals was considered by the so-called grimoire fundamentalists (like myself) just that, blood of certain animals, while modern users that abhorre the idea of blood thought it a code of some sort concealing diverse substances of vegetal origin. Thing is the weirdos who do things by the book were right. No matter how much we like or dislike the idea ( I myself am a vegetarian), the Treatise goes into detail of how, when and in what way should the magician draw the blood and use it in ritual, leaving no room for doubt of guesses.
It details the certain types of bloods, parchments, inks and incenses that the talismans of the planets require, adds original prayers to the planets in order to subdue them and offers a cornucopia of names of the spirits that rule the hours of the days, the parts of the world and other things of the sort, neatly arranged by the author in 23 delicious comparative charts.

It also presents the virtues of the planets, of the hours of each day, of the days of the Moon, of the zodiac, of the plants and much much more.
Two methods of evocation are contained in this treatise, each with its variations in the manuscripts, plus a hoard of individual experiments regarding divination, scrying, invisibility, lust, knowledge and the like.


We have seals, symbols, characters and practices that we had no idea of until now and the echoes of which we find in the later grimoires.




This book is truly a treasure to behold, to read and to have. I advise you to buy a copy until they run out. It is worth every penny.




Author:
Ioannis Marathakis
d
Ioannis Marathakis was born in 1973, in Athens, Greece, where he still lives. He has studied Theology at the National and Kapodistrian University of Athens, where he attended classes on the history of religion, history of philosophy, ancient Greek, Latin and Hebrew languages, as well as Byzantine literature and palaeography. As he was living in an environment where traditions such as the ‘evil eye’ and the ‘evil tongue’ still existed, he also developed an interest in the survival of such ancient notions and practices.

The so called Solomonike, or magical books allegedly attributed to Solomon, was a field where many of his interests converged. To name but some, it had a connection to the Old Testament Pseudepigrapha, it was a major element of Greek folklore and, of course, the knowledge of Mediaeval Greek and Byzantine palaeography were absolute prerequisites for studying it. Since this was a book that nobody seemed to actually have seen, in his University years he turned his attention to the study of the relevant grimoires that had survived in the West. He finally tracked down the Magical Treatise, more than ten years later in 2004, and tried to formulate a critical edition together with an English translation, an attempt that proved to be futile, due to the diversity of the manuscripts.

It was not until 2010 that he decided to reorganize his material and translate the various manuscripts separately, something that led to the present publication. In the meantime, he published in Greek a history of the Solomonic literature, Searching for the Key of Solomon (2007), a web article concerning the history of the invisibility spells, From the Ring of Gyges to the Black Cat Bone (2007), and an introduction to the Treatise, under the title A Source of the Key of Solomon: The Magic Treatise or Hygromancy or Epistle to Rehoboam, for the web magazine Primordial Traditions (2009). 


Jan 28, 2012

Circle of the Art

I am building my magical circle for a series of operation from the Ars Theurgia Goetia, and sure enough, I need a circle. As I am sick of Crowley's rendition floating everywhere on the web, I decided to publish my own version for those in need of one, based on Peterson's Lemegeton, as close to the manuscripts as possible (no snake, no pretty colors), but adding the Hebrew script.


You can download it strictly for personal purpose. If you wish to feature it on your website or blog, please let me know or give the proper credits, it has been an immense amount of work with scarce resources.

For those of you who are not afraid to get down to the canvas and do the dirty work of actually painting your own Solomonic circle (yes, they can also be done by Yourself, not necessarily bought), I m including this guide to fit the letters: when completed, divide the circle in 4 quarters, then half, then half again, resulting 16 sections to better distribute the letters. After painting them in erase the pencil division lines  and start with the other figures.


Jan 24, 2012

Consecration of the Holy Annointing Oil

 Round oil vessel with virgin olive oil


This is a ritual that I designed, based upon traditional methods and the consecration of the perfumes from the Key and the Heptameron. The Lemegeton mentions anointing with oil, but neither the Key nor the Lemegeton give pieces for it.

The anointing oil can be simple olive oil or the so called Abramelin Oil, after the German recipe.
Imperial Arts uses hyssop oil, but I have two things in mid:

1. If I can get it from a pries, I will use a vial of the Great Holy Anointing Oil used in the church, only made on great occasions.

2. An oil made after the Book of Raziel, which says that the juice of hemp and wormwood makes one see the spirits if anointed with it. I macerated for a long time some dry wormwood in hemp oil, it should suffice.

This conjuration is to be said every morning at sunrise for the preparatory nine days before the evocation towards the East, letting the sunlight hit the vessel with oil. 

Do this upon waking up, after you wash your hands and face and after you brush your teeth, but before drinking or eating anything at all.

Say the Seven Penitential Psalms, then kindle the coals and put a few drops of frankincense. Take the Book in the left hand and the vessel or bottle in the right, and hold it in the smoke, saying this conjuration 3 times:

O God of Abraham, God of Isaac, God of Jacob, put thy blessing upon this creature of oil, that it may fill up the power and virtue of its substance, so that neither the enemy, nor any false imagination may be able to enter it, and grant it the power of seeing the spirits of heaven, earth and hell once I anoint mine eyes with it and to hear and understand them once I anoint mine temples with it, in thy great name Adonai Tetragrammaton and   through the power of our Lord Jesus Christ! Open thou mine eyes, that I may behold wondrous things out of thy law.[1]Amen.



[1]  Psa 119:18   

Jan 22, 2012

Talismans Questions



The following questions have been asked by different clients who bought my documents. Some may not be questions, but they do lead to further explanations. Questions that deal with the specific techniques will not be published, only those that may deal with general talismans, for the help of all those who make such objects and for those who may buy them in the future.
All the people asking questions will be anonymous.

1. I would like to know if I can make such talismans for my children: the boy 17(still a boy), and two daughters 7 & 12. The take care of those things, I've done some for protection and they really care for them.  So they won't desecrate or debase them, they respect these items as sacred.
1. The Solar talisman is not quite for children. Each age has it s planetary ruler. Earth governs the womb, the Moon governs childhood from 0 to 7 years, when the body functions are just forming. Next 7 years, from 7-14, are governed by Mercury, the learning state. The next seven years by Venus, from 14-21, the sentimental love stage. Only after that comes the Sun, from 21 to 28, young maturity stage.  There would be nothing wrong with a Sun talisman for a child, but Sun talismans require either a proper age, or a Sun predisposition, like if your child was born on Sunday or in Leo. Otherwise, I would suggest a talisman appropriate to their age. If protection is the thing you desire, the Moon talisman would be safe. A Solar talisman heavily charged can sometimes bring unbalance if the person has not reached maturity. Like giving them your credit card at age 13...  Now, I do not know your children and do not know how mature they are and what potential they have. You don t want to have a celebrity daughter, do you? Sun talismans are mainly good for career and social status. Should you decide to make them still, they will have to be consecrated in their name, using their full name and their mother s name. You would say something along the lines of: I consecrate this object for the benefit and use of Chloe Tanya Namelessson, daughter of Brenda Carla Lewis Namelesson, et. Goes the same for boys, still their mother s name.
2. Purpose: What's your suggestion about the purpose? Can it be a single objective or goal, or can be some different goals, such as boost finances(I run a business), self-confidence, being liked, to be protected against spirits, illnesses, accidents, physical attacks, or is that too much and dilutes the energy of the talisman?
2.  You should get a good idea of your priorities, then couple them up in fewer words. I could sum up what you wrote in : Happiness and fullfilment of me and my family, under the mercy of God.  
3. Besides, even if I choose 2 or 3 goals, does the talisman still will have some effect according to the general lines of what is stated on page 3 of the booklet?
3. Yes, it will, if you include these things in the consecration and conjuration. Do not expect to get extra stuff if you do not ask of them.

4. My mother tongue is Spanish, so I'll try to translate the conjurations to Spanish using the Latin version as a base and your English translation too, I'm not too proficient in Latin but is the parent of Spanish as well as Romanian.

4. Great to hear that! I translated them in Romanian and I believe they are still active in whatever language they are spoken in.

5. I'll prepare myself during a week before making the consecration(next full moon, next Sunday is waning), do you suggest any Psalm(s) related to Raphael and/or the Sun?

5. The best Psalms I could think of are the Psalms of Praise, any psalm that revolves aroud the idea of taking pleasure in pleasing God, exalting His name and sanctity and sovereingty. Especially one that contains the epithet King. You have to seach for yourself. Even if you go though the whole Psalm book, which is extremely pleasent and powerfull when done in devotio, you can select a few good psalms and make notes.
Also, check out Peterson s Magical Psalter:

6.Finally, is there any problem about rituals related to chtonic spirits such of those of the GV or the Goetia? In such event I'll take care of keeping the talisman in a drawer of the my altar, won't wear it just in case, but would like to know your comments on this regard.

6. If you deal with such spirits, I see why you would want to protect your children. Yes, I would not use the Seal of the Sun on them, or show it to them, unless they are of a sun nature (appearing as lions, kings, mighty rulers or as yellow or golden orbs, dealing with riches or treasures. You could make a special talisman for ritual work and use it to bind them or kneel them if they are stubborned, depends on what approach you use with demons: the It s-my-right-to-ask-you-because-you-are-damned-and-appointed-to-our-service-Approach or the lets-become-friends-and-we-can-work-together-because-demons-are-just-cool-that-way-Approach.

7. Is goat skin parchment okay?
Yes, I believe parchment and traditional materials will lead to better results than paper in my opinion.

8. When you say one talisman at a time, do you mean like one talisman per week? Or one talisman per use, for example say if I wanted to use the Solar talisman for an ongoing boost for self-confidence and the Lunar talisman to tune into the Lunar current (help wih my divination skill and so forth) - should I give a couple of weeks in between making them? Or should I wait until I don't need the solar one to then make the Lunar one?

If you want to make seven pentacles for ritual use, that is just fine. But if you are using them for special ends and ongoing projects, it would be better to wait a bit. Remember you will be empowering them  repeatedly in order to get better results, so I'd say 28 days is the minimum between workings. You can of course disregard my advice and record your success or failure, it would be equally interesting to me.
 But it would be a sign of determination and wisdom for the angels you call upon to stick to one thing for a longer period, than going around consecrating talismans you don t need right and left.
Try to prioritize as you will have enough time to do all you need.

9. The Talismans should not be touched by anyone else ? How can I make one for another person ? Should I explicit it in the Ritual (like, naming the person who this talisman would be for), or this is not quite an option, when following the Munich Manual ?

Correct, the talisman is only to be touched by you. Some talismans can be touched by others, but that has to be stated clearly in the consecration, that is, the talisman can work for you, whenever you touch X with it.
If you wish to make one for another person, I suggest you teach them the methods therein, it s best. But you can do one for another person as long as you specify this in the consecration and you receive something in return. Nothing must be done for free.   The Munich Manual doesn t say much about these symbols, it just lists them, the rest of the process is my own.

10.  It is possible to consacrate any other object, with this ritual ? Like a small image of Angel Raphael for the Sun, or a stone?

It is possible to consecrate any other objects as long as it is of planetary affinity. I would suggest not making an image of Raphael, but a seal or talismans. Angels abhore images, idols and any other thing that might make them a target of worship. It is quite against their beliefs and standards.