ALEISTER
CROWLEY'S
New Masterpiece
MORTADELLO
or, The Angel of Venice
A PLAY IN FIVE ACTS
Write for Particulars
to the Office of this Magazine {Illustrations described on two folio sheets preceding commencement of all text other than inside front cover, both black and white halftones:
On the left-hand page (right is blank) are four photos of Crowley in various floor seated asanas. These photographs are rectangular and arranged to have one at top, two side-by-side at center and one at bottom. The top photo is numbered 4, the left center 5, right center 6 and bottom 7, all in the upper left corner of each in white on the black field. There is no caption at the top of the page, and the caption at the bottom of the page is:
4. The Arrowhead. .
5. The Bear. : These positions with bowed head are suitable
6. The Ivy. : for Asana and for meditation, but not for
7. The Parallelogram. . Pranayama.
In all four of these photos, the mirror is vertical to the right, showing a three-quarter of the back and one side of Crowley's figure. Crowley's direct figure occupies the left half of the image. A leopard skin is only seen in the bottom photo, where he sits upon it and a portion of it is bunched up over his genitals. Owing to the bent forward nature of his figure in each of these four photos, Crowley's weight problem is very evident.
In number 4, Crowley is frontal, seated with feet together at front, knees extended upward to right and left at 45 Degree from the floor, head bowed forward almost directly face down, arms straight forward from the shoulders to the floor with hands cupped on floor, palmer side toward genitals and obscuring feet.
In number 5, Crowley is again frontal on floor, head bowed as before, knees together over face and feet together at ankles with toes directly forward. His arms hug the knees and upper part of lower legs such that the right is angled over the left and the inside of the elbows cup the knees.
In number 6, Crowley presents his right side to the front, facing right. This is the only instance in which the mirror is necessary to show the posture. The left leg is flat on the floor from knee to foot, toes pointed to the viewer and knee farthest to the right directly parallel to the plane of the photo. His buttocks rest on his left heel. His right leg is knee to center right, foreleg canted to left such that it crosses the left leg above the knee and sets the right foot flat on the floor with toes to the right. His left forearm cannot be seen, but the left hand emerges below the right hip to grip the middle of the left lower leg, fingers around calf and under. His right arm is at 45 Degree down and under the right leg just above the knee, left hand and forearm invisible. His head rests on the right knee.
In number 7, Crowley presents a 3/4 frontal with the left torso more visible than the right. His right leg is extended flat toward the left corner of the photo, toes extended and flexed backward. His right hand is straight from the shoulder with hand palmer down and fingers extended to touch great toe, thumb extended downward at right angles to fingers and palm. His left leg is extended toward the general direction of the lower right corner of the photo to the knee, then doubled back so that the foot cushions the left buttock. The torso is somewhat twisted so that the hip girdle is turned slightly clockwise from the shoulder girdle. The left arm is slightly akimbo but in contact with the left side back, elbow to the back and hand flat on the upper thigh with fingers flattened toward the knee. His head is bowed forward as before, somewhat toward the right thigh and slightly toward the center. His back crests above his head.}
Titled at top left page (right page starts next text): "LIBER E. SUPPLEMENTARY INSTRUCTION IN ASANA"
On the left page, there are three rectangular photographs displayed as a uniform vertical column with white separator lines between. The long axis of each of these photographs is horizontal. The photographs are numbered in the upper left corner of each from 1 to 3 in white, starting at the top. At the bottom of this page is the following caption:
1. The Dying Buddha . These three recumbent positions are
2. The Hanged Man. : more suitable for repose after medi-
3. The Corpse. . tation than for meditation itself.
In each of these three photos, the background is black, there is a full length mirror standing on its long side in the rear, there is a leopard skin on the floor before the mirror and there is a small decorative white column to the right with identical black to the left. These columns are perhaps four or five feet tall and are like photographer's props of the kind used around the end of the 19th and beginning of the 20th century to help a subject hold position during a time exposure. It is not a classical or even an Egyptian type, but has the usual mismatch of elements in such decorative pieces: In effect, the column is upside-down with the Abacus as a square base, the Cushion as a rounded flare just above that, no Volute, and the Necking as another rounded flare just above a concave ring. Immediately above this, cupping the base of the fluted shaft, is a stylized bud of four petals, open rather like a clip to hold the bottom of the shaft. The shaft is Doric if it is anything. The Capital is not of any Order, but is a ring below, next a concave with chevron scallops crowning out to support a thin top convex ring and a dead flat top. If these monstrosities would be named, I suppose one might call them Egyptianized French plant stands after the style of Napoleon IIIrd. Their excuse for being seems to be to prop up the mirror at a slight forward leaning angle.
In all three of these photographs on the left-hand page, Crowley is shown recumbent and naked with his genitals air-brushed out. His pot-belly is medium to large. His head is shaved down the sagital with only a fore-lock left, but the hair to the sides and back is of normal length.
In number 1, at the top, Crowley has head to left, body on right side with legs straight and directly parallel, left foot slightly down and straight over right. His left arm is flat along his body, hand palmer to body at hip and fingers flat toward feet. His right arm has elbow slightly to the fore and left of head, bent, with hand cupping right side of head in support. Face is slightly turned downward, showing only left eye and left side, but more to the front than to the floor. In this and all photos on this page, Crowley is recumbent on the leopard skin.
In number 2, center, Crowley is flat on his back, head to right and looking up. His back is slightly arched. His arms form a triangle with hands behind head, hands and fore-arms completing the base of the triangle. His left leg is straight. His right leg is bent at knee and passes the foot beneath the knee of his left so that the fore-legs form an approximate cross like the figure commonly seen on the Hanged Man Tarot Trump. In all three photos on this page, the mirror in the back shows the side of Crowley's body away from the camera.
In number 3, bottom, Crowley is laying dead flat, head to left and facing up, with arms flat on floor at sides and legs together and straight.
[These pages are reserved for Official Pronouncements by the Chancellor of the A.'. A.'.]
Persons wishing for information, assistance, further interpretation, etc., are requested to communicate with
or to call at that address by appointment. A representative will be there to meet them. ====================== Probationers are reminded that the object of Probations and Ordeals is one: namely, to select Adepts. But the method appears twofold: (i) to fortify the fit; (ii) to eliminate the unfit. ====================== The Chancellor of the A ∴ A ∴ views without satisfaction the practice of Probationers working together. A Probationer should work with his Neophyte, or alone. Breach of this rule may prove a bar to advancement. ======================
Some of the weaker brethren having found the postures in Liber E too difficult, the pitiful heart of the Praemonstrator of A ∴ A ∴ has been moved to authorise the publication of additional postures, which will be found facing this page. An elderly, corpulent gentleman of sedentary habit has been good enough to pose, so that none need feel debarred from devoting himself to the Great Work on the ground of physical infirmity.
Owing to the unnecessary strain thrown upon Neophytes by unprepared persons totally ignorant of the groundwork taking the Oath of a Probationer, the Imperator of A ∴ A ∴, under the seal and by the authority of V.V.V.V.V., ordains that every person wishing to become a Probationer of A ∴ A ∴ must first pass three months as a Student of the Mysteries.
He must possess the following books: ---
An examination in these books will be made. The Student is expected to show a thorough acquaintance with them, but not necessarily to understand them in any deeper sense. On passing the examination he may be admitted to the grade of Probationer.