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TABLE OF CONTENTS...
1. Frankincense resin (franckincense) |
Incense resins such as frankincense, benzoin, copal, myrrh, and storax have been used for millennia in religious and esoteric practices. Each has magical properties that vary according to traditions. Introduction.
1. Frankincense resin (franckincense)
1.1. Botanical origin
Frankincense, commonly called simply "incense," is an aromatic gum-resin derived from the Boswellia tree. Mainly, Boswellia sacra (synonym B. carterii) is used, a small tree native to Dhofar (southern Oman). It is also found in Somalia, Yemen, and northern India (where Boswellia serrata grows). Boswellia belongs to the Burseraceae family. By cutting the bark, the tree exudes whitish resin "tears" that harden in open air and are harvested after a few weeks. Frankincense has been known since Antiquity for its sacred fragrance and was one of the three gifts offered to the infant Jesus according to biblical tradition (along with gold and myrrh).
1.2. Magical properties in Kabbalistic magic
In Hebrew mysticism and Western Kabbalistic magic, frankincense is considered a sacred resin associated with the highest spiritual spheres. In Hebrew, it is called lebonah and is part of the incense formula of the Temple of Jerusalem in the Bible, where it is described as "most holy." Occultists of the Hermetic Kabbalistic tradition often associate it with the Sphere of the Sun (Sephira Tiphereth) for its luminous and royal nature.
Indeed, frankincense is described as a solar incense, bearer of high spiritual vibrations. Its planetary correspondent is the Sun in many occult correspondences, and its element is purifying Fire. Burning frankincense is seen as a way to raise the soul towards the divine: its smoke is said to rise straight to the sky to carry prayers. Thus, Kabbalists and magicians use it to consecrate the ritual space and invoke divine energies (note that a Kabbalistic school, that of Ari Luria, even associates frankincense with the occult sephira Da’at, the mystical "point of knowledge," highlighting its role as a bridge between the material and spiritual worlds).
1.3. In medieval and Renaissance European magic
In Europe, frankincense incense has always been prized in religious and magical rituals. The Catholic Church uses it in censers to bless and purify places and drive away malevolent influences – a practice inherited from ancient rites. Medieval and Renaissance grimoires attribute purification and consecration virtues to it. Astrological tradition reinforces the association of frankincense with the Sun: according to planetary correspondences reported by Cornelius Agrippa, the Sun’s incense is frankincense. Burning frankincense on a Sunday (solar day) during a conjuration attracts beneficial solar forces (illumination, success) and pleases benevolent entities. Conversely, its powerful aroma was also used to ward off evil spirits: many medieval exorcisms recommend fumigating with blessed incense. In The Key of Solomon and other grimoires, frankincense is found in recipes for “pontifical incense” or planetary incenses – mixed with myrrh, benzoin, or storax – to create fumigations specific to each operation. Thus, in Solomonic magic, frankincense is a standard ingredient of “art incense” used almost universally to sanctify circles and magical instruments.
1.4. Properties in Wicca and neo-pagan magic
In Wicca, frankincense is considered the universal incense par excellence. It corresponds to the Fire element and the Sun, and is believed to have the power to raise spiritual vibrations, purify the atmosphere, and consecrate ritual objects or places. Its magical properties listed in Wiccan texts include protection, exorcism (banishing negative energies), purification, and enhanced spirituality. Its smoke is said to emit powerful vibrations that uplift the soul and drive away all evil. Practitioners light it to consecrate the magic circle, to cleanse a home of harmful influences, or to facilitate meditation and induce mystical visions. Frankincense is part of many Wiccan incense blends, and Scott Cunningham notes that it can be replaced by copal or pine resin if needed (proof that its purifying role is considered comparable to other fragrant resins). In short, for witches and neo-pagan magicians, it is a versatile high-vibration incense symbolizing divine light.
1.5. Use in Hoodoo (African-American conjure)
In Hoodoo – an African-American magical tradition tinged with Christianity – frankincense holds a special place as a sacred biblical incense. Its use dates back to the combined influence of Christian practices (Baptist church, Catholicism) and European “secret books” introduced into African-American culture. It is burned alongside the recitation of psalms to sanctify the home or altar and carry prayers to God. Frankincense incense (combined with myrrh) is seen as an offering to God and the saints – notably during prayer vigils or to accompany novena candles. Catherine Yronwode notes that frankincense is used on coals “during spiritual worship, as recommended in the Bible.” In Hoodoo worship, there is also the idea that frankincense attracts fortune and blessings: carrying a few grains of incense on oneself or letting it burn brings luck and success in business. Moreover, mixed with other ingredients, it is used to make condition incenses (incense for success or attracting money) because its power of positive amplification is well recognized.
1.6. In Santería and Afro-Caribbean traditions
In Santería (Caribbean region, derived from the Yoruba religion mixed with Catholicism) and in some voodoo practices, frankincense was not traditionally used by West Africans (the original Yoruba rites favor offerings of food, herbs, or local fragrant woods). However, with Catholic syncretism, frankincense became an adopted aromatic offering in many Afro-Caribbean rites. For example, in Cuban Santería, frankincense is associated with Obatalá (creator god of the Yoruba pantheon, assimilated to Christ or the Virgin) because of its solar and pure nature. Burning white incense on Obatalá’s altar is seen as a sign of respect and a way to purify the space for this deity of purity.
Similarly, during voodoo masses (a mix of Catholic liturgy and loa worship), the church censer filled with frankincense is sometimes burned to sanctify the assembly and honor the spirits as one would for Christian saints. In Haitian voodoo, some houngans use frankincense (called there "tieno" or simply incense) for rites related to the Rada mysteries (mostly benevolent), or for funeral ceremonies to appease the spirits of the dead. In Africa itself, frankincense is known in the Horn of Africa (Ethiopia, Somalia) for medicinal and local ritual uses, but in West Africa it was unknown before the colonial era. Today, however, through the Church or esoteric shops, it is found on voodoo or candomblé altars as a universal purification incense. There are hardly any contradictions from one tradition to another regarding frankincense: practically all see it as an agent of sacred purification, a "smell of holiness" that pleases the deities and dispels evil. In this sense, one can speak – as a contemporary author does – of a "universal" resin connecting all religions.
2. Benzoin resin (Benzoin)
2.1. Botanical origin
The benzoin (benzoin gum) is the aromatic resin from several trees of the genus Styrax. Two Asian species are mainly harvested: Styrax tonkinensis (Siam benzoin, native to Indochina – Laos, Vietnam) and Styrax benzoin (Sumatra benzoin, Indonesia). These trees from the Styracaceae family produce a balsamic oleoresin obtained by incising the bark. Historically, another Mediterranean species, Styrax officinalis (called aliboufier), provided a balm called solid storax. In fact, benzoin has often been confused with storax: in the past, the term storax referred to benzoin imported from the East. For example, the commercial "black storax" is actually oxidized Sumatra benzoin, with a dark appearance. The name benzoin comes from the Arabic lubān jāwī ("Java incense"), recalling its Indonesian origin. This resin with a sweet vanilla scent is used both in perfumery and incense.
2.2. Correspondences in Kabbalistic and Western occult magic
Benzoin does not appear in the Bible nor in traditional Jewish Kabbalah (it was unknown in the Near East), but Western esotericists incorporated it into their planetary correspondences from the late Middle Ages onward. Notably, sources differ on its attribution: Agrippa (16th century) classifies storax/benzoin under the aegis of Jupiter (probably due to its uplifting scent and its ability to "amplify" other ingredients, qualities considered jovial).
On the other hand, the later Hermetic tradition (Golden Dawn, etc.) tends to associate it with Mercury: in modern planetary incense recipes, storax is among the typical incenses of Mercury. This Mercurial association is based on its sharp aroma and the speed with which its smoke affects the mind (Mercury being the planet of air and intellect). In other systems, it is linked to the Sun – the Wiccan current considering it as solar masculine. In Hermetic Kabbalah, benzoin corresponds to the sephira Hod (Mercury) or Tiphereth (Sun) depending on the author. In any case, all agree on its power of purification and as a "spokesperson": it serves to carry intentions upward and to strengthen the effect of prayers or spells. Thus, Eliphas Lévi and other 19th-century occultists saw benzoin as an Air incense, capable of raising mental and spiritual vibrations during angelic invocations or knowledge work.
2.3. In European magic (Middle Ages – Renaissance)
The benzoin only entered Europe at the end of the Middle Ages via trade routes with Southeast Asia. Renaissance alchemists and magicians quickly adopted it for its pleasant fumigatory properties. It appears in several fumigation recipes from that era: the "Moon incense" from Pierre d’Abano’s Heptameron (13th century) uses camphor and myrrh, but later versions sometimes replace these ingredients with benzoin, indicating its growing popularity.
Late magical manuscripts (17th - 18th century) mention benzoin/storax in blends intended to evoke spirits or consecrate talismans. Its sweet smoke creates an atmosphere conducive to psychic relaxation and vision. A modern text summarizes that storax (benzoin) was "required in many medieval and ancient recipes," notably to calm, relax, and promote sleep, but also that it was burned to protect against negative influences. This duality is interesting: on one hand, benzoin soothes (it was even used as a mild sedative or for insomnia), on the other, it serves as an aromatic shield against malevolence. The ancients also valued it in love magic: its vanilla scent is sensual, "inspiring love" – it appears in recipes for philtres or ointments intended to arouse affection.
2.4. Magical properties in Wicca
Wicca and contemporary magic consider benzoin a basic ingredient in incense making, especially for its purifying and amplifying virtues. Burned alone, benzoin releases a balsamic scent that blesses and clarifies the space, driving away negative energies and attracting positive vibrations. It is also an incense of prosperity and abundance: it features in many rituals to increase wealth or success. Moreover, benzoin is recognized for its power to amplify the strength of other herbs it is combined with. Sorcerers use it as a "booster" in blends: a pinch of benzoin in ritual incense enhances its magical strength and reach. Cunningham also notes that benzoin (which he classifies as a solar Air resin) is excellent for creating a psychic atmosphere conducive to meditation and concentration.
It is associated with the solar plexus chakra (center of personal power) and solar deities like Ra or Apollo, highlighting its radiant and beneficial nature. In practice, Wiccans use it to purify ritual objects (by fumigation or as an ingredient in consecration oil), to consecrate circles, to attract luck, and even in love spells (its sweetness promoting affectionate energies). Benzoin is often recommended as a substitute in incense recipes when a particular resin is unavailable, proving its versatility. Its elemental correspondence (Air) makes it an incense linked to the east and dawn, used to dispel negativity like a fresh breeze and carry incantations to the sky.
2.5. Uses in Hoodoo
In African-American Hoodoo, benzoin is prized for attracting luck and peace to the home. A saying from this folklore states that burning benzoin on hot charcoal brings luck and peace of mind. Indeed, the "mental peace" granted by its soothing scent is useful after arguments or to calm a troubled home. Benzoin is thus a common ingredient in condition incense blends like Peaceful Home or Money Drawing: it purifies the atmosphere while injecting a vibration of prosperity. In traditional hoodoo recipes, it is mixed with frankincense and other resins: the "church incense" combines frankincense, myrrh, and benzoin to recreate the liturgical incense called Pontifical (used for blessing).
However, benzoin is not always distinguished from storax in these practices – the two terms sometimes overlap. It is also noted that benzoin powder was used as a fixative in many preparations of marking powders and hoodoo oils, proving its role as a magical carrier. Overall, conjure practitioners see benzoin as a "good luck" resin: it brings a gentle blessing to the home (calm, harmony) and "gives strength" to occult workings (like an energetic booster). It is therefore a base incense, used continuously to maintain a spiritually healthy and favorable atmosphere.
2.6. In Santería and African traditions
Benzoin is not traditionally used in the Ifá religion of the Yoruba nor in the original Vodou cult – these cultures did not have access to this Asian resin. Moreover, their rituals focus less on resinous fumigations and more on local plants (leaves, wood, ...). Nowadays, in Santería or Palo Monte circles in Cuba, benzoin can occasionally be found in esoteric shops, but its use remains secondary compared to frankincense or myrrh. If it is used, it is generally under the influence of ceremonial or Wiccan magic, for the same purposes of purification and luck. A Cuban santero might add benzoin to an incense offered to the Virgin of Charity (a syncretism of Oshún) to strengthen love and prosperity in the home, but this is not a long-established Afro-Cuban custom.
Similarly, in Benin or Nigeria, benzoin is almost unknown outside modernized esoteric circles. It can be considered that African traditions do not attribute a specific symbolism to benzoin, except that imported from the Western world: an exotic incense appreciated for its pleasant scent and cleansing power. No major contradiction emerges here, except for the absence of this component in classical African systems. Where it is adopted (America, Europe), there is a consensus on its properties: purification, amplification, attraction of luck. The only nuance is that the hoodoo tradition emphasizes its aspect as a daily good luck charm a bit more, whereas the European esoteric tradition treats it as a more "cosmetic" ingredient (spiritual perfume) and Wicca as a solar incense of wealth. These differences are more a matter of degree than of kind.
3. Copal Resin
3.1. Botanical Origin
Copal is not a single botanical species but a generic term referring to various resins collected from tropical trees, especially in America. The word comes from the Nahuatl copalli meaning "incense." The copal used as incense mainly comes from the Burseraceae family (the same as frankincense and myrrh): Bursera bipinnata (white copal from Mexico) and Bursera copallifera are native Mexican trees that produce a very fragrant copal. Different types are distinguished: copal oro (golden), copal blanco (white), copal negro (black), depending on the species and quality. Generally, these trees grow in Mesoamerica (Mexico, Guatemala, Honduras) as well as in the Amazon (other similar resins exist in South America under the name Brazilian copal,...). Copal can also refer to semi-fossil resins from East Africa (Omani or Zanzibar copal, from Hymenaea), but in the esoteric context, it most often refers to Central American copal. This Amerindian copal is harvested by cutting the trunk; the flowing resin is softer than frankincense, sticky, and hardens into a translucent yellowish mass. Pre-Columbian civilizations (Mayas, Aztecs) made it a fundamental ceremonial incense, just as frankincense was in the East.
3.2. Place in Kabbalistic and Western Magic
Being an incense from the New World, copal is absent from classical Western kabbalistic sources or grimoires. Nevertheless, modern ceremonial magic has integrated it by analogy with frankincense. Some occultists indeed consider copal as a frankincense incense equivalent: it belongs to the same botanical family and emits smoke that is also purifying and sacred. In the correspondences of the Golden Dawn or Wicca, it is readily accepted that frankincense can be substituted with copal. Thus, Scott Cunningham notes that copal can replace frankincense incense in recipes, which shows that it is attributed comparable virtues. As a sign of this assimilation, copal is sometimes also associated with the element Fire and the Sun in the West.
However, it does not explicitly appear in ancient kabbalistic or astrological texts. It can be said that in contemporary hermetic kabbalah, copal simply inherits the solar/purifying attributes of frankincense, without additional specific symbolism. It is used for the same purposes: consecration, spiritual elevation, prayer. A modern kabbalist may burn copal during a planetary rite of the Sun or to invoke a solar archangel in the absence of frankincense, and will consider the vibrational effect equivalent (some even believe that American copal, being "new" in the Western tradition, brings fresh and powerful energy).
3.3. In historical European magic
Medieval and Renaissance European magics did not know copal, which was only imported after the discovery of the Americas. Therefore, it does not appear in classic grimoires. It was only in the 19th century, with the enthusiasm for exotic traditions, that copal was mentioned by some French or English occultists intrigued by pre-Columbian incense. Éliphas Lévi mentions "copal gum" among incenses with purifying properties in his correspondences, but this remains marginal compared to the use of frankincense or benzoin. In Europe, copal was mainly used in varnishes and lacquers (because when heated it forms a varnish) rather than as liturgical incense. Nevertheless, it is reported that as early as the 16th century, Franciscan missionaries in New Spain sent copal to Rome, where it was occasionally used during masses to test this new "Indian" incense. Due to the lack of ancient esoteric sources on copal in Europe, it can be concluded that its historical magical use there is nil. Any incorporation of copal into European rituals is therefore a modern phenomenon, due to cultural exchange.
3.4. Magical properties in Wicca and modern paganism
Copal has been fully embraced by modern neo-pagan practitioners who consider it a highly purifying and spiritual incense. In Wicca, it is sometimes called the “Maya incense” and is used to cleanse negative energies and consecrate the sacred space, much like white sage or frankincense. When burned, copal releases a smoke with a sweet, resinous, and lemony scent, perceived as soothing, invigorating, and conducive to connection with the divine.
Modern witches note that copal creates a strong sensation of calm trance: ideal for accompanying meditation, yoga, or any ritual requiring clear awareness. Its widely recognized magical virtues include: purification (it "cleanses" places, objects, and auras by driving away harmful entities or energies), raising consciousness (it helps connect to spiritual guides, ancestors, and higher planes), improving concentration (its scent anchors you in the present moment and calms the mind), as well as energy healing (it is attributed with beneficial effects on the emotional level, helping restore inner balance). In Wicca circles, it is common to burn copal during autumn sabbats (notably at Samhain, the festival of the dead) to honor Native American ancestors or simply to open a protected sacred space before rituals. Additionally, due to its strong cultural link with pre-Christian American civilizations, copal is sometimes used to invoke the energies of the earth, pristine nature, or indigenous deities. A neo-shamanic healing ritual might burn copal as an offering to the four directions and the spirits of the rainforest. In short, Wicca and neo-paganism value copal as a “new” sacred resin, purifying like frankincense but with its own energetic “signature” tied to Mesoamerican earth.
3.5. Uses in Hoodoo and Latin American folklore
In classic African-American Hoodoo, copal is not among the traditional incenses (once again, it arrived late). However, in the 20th century, the influence of Latino-Caribbean botanicas in the United States introduced copal into esoteric catalogs. Now, some conjure shops offer copal to Mexican-American or mixed-race customers, and Hoodoo practitioners can use it knowingly. Folklorists describe it as "the sacred incense of the Maya Indians of Central America". As a result, copal is seen as a powerful incense to offer to indigenous spirits and cleanse curses. A Hoodoo practitioner might, for example, burn copal to purify a haunted house, invoking the Native American protective spirits of the place. It is also found in some modern spiritual blends: for example, a popular purification formula combines camphor, pine resin, and copal to drive away evil. In the Mexican tradition (curanderismo), copal is everywhere: it is burned during the Día de los Muertos (Day of the Dead) on family altars to guide the souls of the deceased with its scent. This knowledge has been passed on to Chicano/Tex-Mex communities, who have incorporated it into their magical practices: thus, a border witch might recommend copal to cleanse a person of the "evil eye" or to attract abundance (for example, by associating it with a prayer to the Virgin of Guadalupe).
3.6. In Santería and Afro-Caribbean traditions
Afro-Caribbean religious systems of Yoruba origin (Santería in Cuba, Candomblé in Brazil) or Fon origin (Voodoo in Haiti) did not have copal in their traditional ritual repertoire. Indeed, copal is native to Central American cultures and does not grow in the Caribbean. However, there are zones of syncretism between Afro and indigenous cults, notably in countries like Mexico, Guatemala, or even Venezuela. In these contexts, copal has been integrated into the rituals of some Garifuna or Afro-Maya communities. For example, in Mexico, there are brujos (sorcerers) blending Afro-Cuban magic and Maya shamanism: they use “copal pom” (Maya copal) as an offering not to African orishas, but to nature spirits and local ancestors, before proceeding with invocations of African deities. However, this remains quite localized. In pure Cuban Santería or Haitian Voodoo, copal remains almost absent ritually – the Catholic tradition (church incense based on frankincense) is preferred for the rare uses of incense. Nevertheless, with the spread of esoteric products, copal sometimes appears on modern voodoo altars as an “exotic” incense to experiment with new vibrations.
A voodoo priest might, out of curiosity, burn copal to honor a loa linked to the earth or the forest (by analogy with the Mayan gods of nature), but this would be a personal innovation. Thus, in African and Afro-Caribbean traditions, there is no codified symbolism of copal: if it is used, it is borrowed from indigenous Mesoamerican practices, with which it retains its original meaning (purification, offering to the gods of the earth and ancestors). No glaring contradictions between traditions regarding copal are observed: wherever it is used, it is to purify, consecrate, and connect the human world to the divine world. The only difference is the central importance it has among the Mayas/Aztecs (the quintessential incense of blood and gods), whereas it remains secondary or optional in imported systems (Western or Afro). In the West, it is seen as a substitute for frankincense; in indigenous America, it is a pillar of worship. This cultural contrast is notable but does not constitute a contradiction of interpretation – rather a variation in use due to geographical context.
4. Myrrh resin
4.1. Botanical origin
Myrrh is an aromatic gum-resin obtained from the trunk of certain small thorny trees of the genus Commiphora, particularly Commiphora myrrha. The "myrrh tree" or balsam tree originates from the arid regions of the Horn of Africa and the Arabian Peninsula. It is mainly found in Somalia, Ethiopia, Djibouti, Yemen, and southern Saudi Arabia. It is a shrub about 3 meters tall, with a knotted trunk covered in thorns, from which the bark is cut to collect the resin that flows out in yellow-brown "tears" once dried. Myrrh was already renowned in Antiquity: used by the Egyptians for embalming, mentioned in the Bible (one of the three gifts of the Magi), and in many rituals. Its name comes from the Hebrew môr (bitterness), reflecting its very bitter taste. There are different varieties of myrrh; the best known is the so-called bitter myrrh (Commiphora myrrha), but there is also the sweet myrrh called opoponax. Here, we will talk about the classic bitter myrrh.
4.2. Properties in Kabbalistic magic and Hermetic symbolism
Myrrh has a deep symbolism related to the notion of sacrifice, painful wisdom, and mystical femininity. In Kabbalah, myrrh is associated with Séphira Binah (Understanding, principle of the Divine Mother). Indeed, Binah is the sphere of the Grandmother (Imma) who understands the pain of the world; myrrh, through its bitterness and funerary use, represents sacred suffering. An esoteric text states that "myrrh is sacred to the Great Mother, whether called Mary, Isis, or Binah." Thus, burning myrrh in Kabbalah is to invoke the energy of the Mother of Sorrows, the one who comforts the afflicted and presides over the mystery of death and spiritual rebirth. Myrrh is also present in the Bible as a component of the holy anointing oil (Exodus 30:23) – it was mixed with other spices to consecrate priests and Temple objects. Kabbalistically, it can be seen as a symbol of softened severity (Binah being linked to Saturnian Severity): myrrh, bitter, is tempered by the sweetness of cinnamon and cassia in the anointing oil, reflecting the balance of divine attributes. Furthermore, some Hermetic planetary correspondences assign myrrh to Saturn, the planet of death, time, and limits. This aligns with its role in embalming the dead and its association with Binah-Saturn. Other authors also link it to the Moon (its white scent and use by lunar goddesses) or even to Mars (because of its dark color and antiseptic properties on wounds, used by Greek soldiers). However, most modern Kabbalists classify it under the Moon (and water) as incense of the Black Goddess, the dark aspect of the moon.
4.3. In European magic (Antiquity, Middle Ages, Renaissance)
Myrrh holds an important place in the magical and religious history of the Mediterranean basin. The ancient Egyptians considered it the “oil of mummies”: it was part of the embalming mixture to purify and protect the bodies of the deceased. According to Plutarch, Egyptian priests burned myrrh at noon in homage to the sun god Re (frankincense at dawn, myrrh at noon, kyphi in the evening), making it a solar incense in this context. The Greeks and Romans used it in sacred and medicinal perfumery (ointments to heal wounds). In the New Testament, myrrh symbolizes redemptive suffering: offered to Jesus at his birth, then mixed with wine on the cross (Mark 15:23), and finally used to embalm his body in the tomb. This symbolic charge did not escape medieval monks and magicians: myrrh is seen as the incense of sacred death and devotion. In medieval Christian rituals, it was burned during Passion ceremonies and funerals mixed with frankincense. Medieval grimoires frequently prescribe it alongside incense: for example, a recipe for incense to consecrate a magic sword advises combining “masculine incense (frankincense) and feminine incense (myrrh)” to balance the forces.
Myrrh was reputed to banish impure spirits when combined with frankincense – somewhat like how the Church uses pontifical incense. Cornelius Agrippa notes that myrrh, being cold and dry in nature, belongs to Saturnine influences; moreover, an ancient recipe he cites for Saturn includes ground frankincense and myrrh together. Paradoxically, other texts associate it with Venus for its role in love ointments (as myrrh was also an aphrodisiac in some Eastern preparations). In medieval magic, it appears in love philtres inspired by the Song of Songs (where myrrh is mentioned in an erotic context, symbolizing the beloved feminine). For example, a medieval love remedy advised carrying a sachet of myrrh and rose to become irresistible – a belief based on myrrh’s intoxicating aroma.
During the Renaissance, Paracelsus and the spagyric practitioners attributed to myrrh an affinity with the soul (Spirit) more than with the body, because it preserves dead bodies but “volatilizes the spirit” through its scent. They used it as incense during necromancy operations or meditation on death. Thus, a complex picture emerges: in Europe, myrrh is sometimes solar (incense of the Sun-God at noon), sometimes Saturnian (due to its link to death and burials), sometimes Venusian/lunar (due to its link to the Mother Goddess and love perfumes). This multiplicity may have led to contradictory interpretations depending on the authors. Nevertheless, all agree on its sacred, solemn character connected to mysteries. It was considered a more introverted and “underground” incense than frankincense: if frankincense directly lifts prayer to Heaven, myrrh opens the door to the unconscious and the world of ancestors.
4.4. Virtues in Wicca and contemporary magic
Wicca and modern esoteric traditions have synthesized these attributions to describe myrrh as a resin with feminine, lunar, and Saturnian energy. Scott Cunningham classifies it as a plant of the Moon (Black Moon) and secondarily of Saturn, emphasizing its history strongly linked to the sacred feminine. Thus, in Wicca, myrrh is used to honor the Goddess in her aspects of Wisdom and Death (e.g., the dark Goddess Hecate or the mourning Virgin Mary). It is often burned mixed with frankincense – this classic frankincense-myrrh combination symbolizes the God and the Goddess, or the Sun and the Moon, in harmony. Myrrh alone is reputed to have a very introspective vibration: it is used for rituals of deep meditation, inner healing, and grief work. Its thickened smoke is conducive to entering altered states of consciousness, which is why many witches burn it to communicate with the spirits of ancestors or the deceased (myrrh = bridge to the Beyond). A Wiccan article notes that myrrh “leads to a rich and rewarding meditation, especially focused on introspection.
It is used to heal personal grief and to connect with the dead and the underworld.” For this reason, it is found in Samhain rituals (Festival of the Dead). Furthermore, myrrh also has an aspect of protection and purification complementary to frankincense: its antiseptic nature on the physical level is transposed on the esoteric level into a power to ward off negative influences and seal the aura. As a result, Wiccans use it to purify magical tools, consecrate circles (especially under the waning Moon), and protect against psychic attacks. Less frequently, myrrh is included in dream or astral blends: some burn it before sleeping to induce prophetic dreams or astral travel, particularly in combination with chamomile or mint (this is related to its calming effect on the mind).
Emotionally, myrrh is known to "open the soul to let go of pain" – it is sometimes recommended to burn it after a breakup or a loss to help release grief and find peace. Note that Wicca also values myrrh for more positive workings: a frankincense-myrrh-cinnamon blend to bless a new project, for example, where myrrh represents wisdom and protection around the project. We can see that in modern magic, myrrh remains a versatile resin but is oriented towards deep spirituality, soul healing, and psychic protection, rather than material requests. Its Sun/Moon duality is sometimes mentioned: some feel it very solar (energy of Ra, mystical vitality) while others perceive it as moody and dark; this ambiguity reflects the different intertwined energies within it, as one author says: "Myrrh is a complex fragrance with multiple linked energies. This ancient treasure refuses to be categorized in just one way." This observation illustrates well the varied interpretations it receives – which are not necessarily contradictory, just multifaceted.
4.5. Use in Hoodoo
In African-American Hoodoo, myrrh is, like frankincense, a sacred biblical incense integrated into practices through the Church. It is almost always used in combination with frankincense in spiritual incenses. A Hoodoo catalog states: « Usually burned with frankincense, for healing, purification, romance, and love ». This phrase is surprising because it associates myrrh with romance and love – a lesser-known aspect that probably comes from the Song of Songs where myrrh symbolizes sensual love (the beloved says: “My beloved is to me a sachet of myrrh resting between my breasts”). Thus, in Hoodoo folklore, burning frankincense and myrrh together serves not only to purify a place and elevate a prayer but can also be used in rituals of romantic reconciliation or relationship healing (hence the mentions of “romance, love”). In common practice, rootworkers prepare “Three Kings Incense” (or Three Kings incense) mixing equal parts of frankincense, myrrh, and sometimes benzoin, which they burn to bless a home or business – this drives away harmful influences and attracts divine blessing to the place. For personal purification, one can “wash” in the smoke of a myrrh and frankincense incense while reciting a psalm, to rid oneself of a curse or sadness. Myrrh is also included in mojo bags (gris-gris) related to health: a small piece of resin added to medicinal roots to strengthen the spiritual healing effect. Regarding communication with the dead, Hoodoo practitioners, who are very Christian, do not practice necromancy in a “pagan” way, but during memorial masses or the Day of the Dead, they may burn church incense (thus containing myrrh) on graves to honor ancestors – a practice inherited from Catholicism. Myrrh also has a medicinal use in Hoodoo pharmacopoeia: ground into powder, it is used to prepare an ointment to treat cuts or infections (it is an antiseptic), and it is believed that applying it with prayer speeds the person’s spiritual healing. In summary, in Hoodoo myrrh is seen as a sacramental incense of high protective and healing power, often inseparable from frankincense. While Wicca tends to associate it more with sadness and mystery, Hoodoo emphasizes its healing and conciliatory role (healing body and heart ailments, restoring harmony). There is no real contradiction, just a difference in emphasis: where a European occultist sees myrrh as austere and funerary, a Hoodoo rootworker mainly sees it as a prayer incense that brings peace (including peace in the couple, hence love). These differences come from the cultural context: conjure doctors incorporated myrrh through religion (as a symbol of divine love and Jesus’ healing) rather than through the pagan mythology of the Weeping Goddess.
4.6. In Santería and Vodou
Myrrh, like frankincense, was not used by West Africans in their original cults. However, syncretism with Catholicism introduced it into Afro-Caribbean ritual. In Cuban Santería, myrrh is part of the composition of the "Church incense" used to purify the temple (the casita) before the misa espiritual or ceremonies where Catholic saints associated with the orishas are invoked. Some reserve it as an offering to the Virgin Mary (a syncretism of Obatalá or Oshún depending on the aspect), because myrrh is linked to the Virgin of Sorrows – an image corresponding to Yemayá in her mater dolorosa aspect. In Haitian Vodou, myrrh is not traditionally burned alone, but its scent is found in the "Vatican incense" sometimes used by Vodou priests when incorporating elements of the Catholic mass. During rites for the Guédé (spirits of the dead) or Baron Samedi, which often take place around All Saints' Day, a scented resin (frankincense and myrrh) may be burned on the altar of the dead to honor these spirits in a solemn atmosphere. It is interesting to note that myrrh, bitter and linked to cemeteries, fits well with loas like Maman Brigitte (Baron Samedi’s wife, protector of graves) – although no traditional source explicitly mentions "burning myrrh for Maman Brigitte," the symbolic association is consistent (Maman Brigitte is syncretized with Saint Brigitte, and one can imagine offering myrrh incense to this saint). Generally, Afro-Caribbean traditions have not developed specific correspondences for myrrh: they use it in the Catholic manner, that is, as sacred incense for prayer and purification, and possibly as a symbol of sacred mourning. There is therefore no strong internal contradiction – only a transmission of symbolism. It is observed that some interpretive divergences noted above (solar vs lunar myrrh, etc.) are specific to Western schools. In African or Creole traditions, these subtleties do not really exist: myrrh remains a holy substance, bitter like suffering but sanctifying and protective, without quibbling over its tutelary planet. This resin thus links all these cultures by embodying everywhere the idea of the sacred mixed with the bitterness of life.
5. Storax Resin (Styrax)
5.1. Botanical Origin
Storax (also spelled styrax) refers to a dark balsamic resin originally from a Mediterranean shrub called Styrax officinalis (family Styracaceae). This shrub, once found in the Levant (Syria, Palestine, Cyprus), exudes from its bark a solid balm called storax or Levant benzoin. However, most storax used today actually comes from another tree: the Liquidambar orientalis (family Altingiaceae), also called liquid styrax or sweet amber of Turkey. The Liquidambar orientalis is a tree from Turkey (Asia Minor region) that is incised to collect a dark liquid resin known as liquid storax. A related species, Liquidambar styraciflua, native to America (from Mexico to the United States), produces a similar balm. Commercially, the "true" storax from Turkey (Liquidambar) is often distinguished from benzoin (Asian Styrax), but the two have been confused in the past. Storax resin appears as a viscous dark brown-black mass or as aromatic blackish concretions. Its scent is sweet, balsamic, with notes of vanilla and bitter almond. Note: the term "styrax" is also used to refer to this resin (styrax being the Latin name), which adds to the confusion with the botanical genus Styrax. In summary, storax can refer either to the Liquidambar balm (Asia Minor, America) or the Styrax officinalis balm (Levant), the latter being almost abandoned today.
5.2. Correspondences in Hermetic Kabbalah and Western Occultism
Storax holds an interesting place in occult correspondences, as it has been attributed to different planets depending on the authors. Agrippa lists it as the main incense of Jupiter. Indeed, in his Occult Philosophy, he indicates for Jupiter: “Storax, saffron…” as an appropriate fumigation, likely considering its rich and “royal” fragrance. Conversely, the later tradition (Golden Dawn, etc.) mainly uses storax for Mercury. A modern list of planetary offerings cites storax among the mercurial incenses recommended alongside mastic. This mercurial attribution is explained by the association of storax with the Air element and rapid mental stimulation (mercurial qualities). Moreover, some occultists assign it a lunar or saturnine nature: the sticky black resin evokes the Black Moon or Saturn. A contemporary esoteric source thus states that storax has planetary associations with Mercury, Saturn, and the Moon simultaneously. This likely reflects the fact that storax calms the mind (Moon), protects against negativity (Saturn), while having a volatile aromatic aspect (Mercury). In Hermetic Kabbalah, storax is linked to Yesod (Moon) or Hod (Mercury) depending on the sources. Eliphas Lévi mentions storax as a component of certain evocative fumigations (without specifying the planet). The Golden Dawn uses it in the Art Incense called “Abramelin” with frankincense and benzoin, which places it more on Mercury’s side (since Abramelin refers to Mercury/Hermes). In any case, storax is considered an incense of psychic energy: it has the property of promoting altered states of consciousness and astral projection. Modern authors note that it is burned to induce prophetic dreams or soul journeys (lunar quality), while elevating logical thought (mercurial quality) and driving away evil (saturnine quality). This versatility makes it somewhat of a “chameleon” in correspondences, which can seem contradictory from one source to another. But overall, in Western kabbalah/occultism, storax is understood to be linked to the mental and astral sphere, used to calm, protect, and promote intellectual and dream magic.
5.3. In European magic (Antiquity, Middle Ages)
Storax was already known in Greco-Roman antiquity. The Assyrians and Egyptians used it in perfumery: among the Egyptians, it was part of the composition of Kyphi (a sacred incense made of multiple ingredients). The texts of Theophrastus and Dioscorides mention storax (styrax) as a precious balm imported from Syria. In the Middle Ages, Arabic pharmacology valued it for its medicinal virtues (expectorant, nervous calming). On the magical level, storax appears in many medieval incense recipes. For example, in the Picatrix (a 13th-century astrological grimoire), storax is included in Venus incenses as a sweet aroma attracting love. Conversely, the Liber Juratus (a text of angelic magic) uses it for Saturday conjurations (a darker aspect). In Europe, it was traditionally associated with relaxation and sleep: medieval herbals recommend burning storax in the bedroom at night for a good sleep. By extension, it was used to facilitate divinatory dreams – Hildegarde de Bingen mentions that the smell of storax "gladdens the brain." On the esoteric level, storax has often been used in spirit evocation rituals: its pleasant smoke was thought to please entities and encourage them to manifest without aggression. The Goetia (Lemegeton) contains incenses where storax is combined with lignaloes, frankincense,... to invoke such an aerial spirit. Moreover, in the composition of the famous Pontifical Incense, an ecclesiastical blend for the church, storax is found alongside frankincense, myrrh, and benzoin. This means that the Church itself used storax (at least storax officinalis, called storax in grain form) to perfume its censers during major masses – traces of this date back to the 13th century in Europe. Through this path, storax acquired a sacred and protective aura, being mixed with blessed incense. Medieval Christian magicians therefore saw it as a beneficial and protective component. For example, a recipe from the Grimorium Verum to banish a malevolent spirit prescribes burning storax and saltpeter: storax for its soothing sweetness, saltpeter for the expulsion aspect. This mix of roles (soft vs. expulsion) illustrates well the use of storax as a magical calming agent – calming for the operator (it relaxes fears) and calming for spirits (it soothes or positively attracts them). In the Age of Enlightenment, storax remained present in esoteric recipes, notably alchemical (Paracelsus used it in certain quintessence distillations) and theurgic. In short, in pre-modern European magic, storax is primarily seen as a beneficial and prophylactic incense: it calms the mind, inspires sensual love (hence its use in some love charms), and drives away negative energies. It is relatively consensual, with few writings criticizing it. Its only complexity lies in the various planets associated with it: Saturn (due to its color and nocturnal use), Venus (due to its sweet erotic scent), or Mercury (due to its mental effect). This ambiguity has persisted to this day.
5.4. Magical properties in Wicca and modern witchcraft
Contemporary witches quite frequently use storax (often in the form of Sumatra benzoin powder mistakenly called storax). In Wicca, it is considered a resin linked to the Earth element and having multiple planetary influences (sometimes listed as incense of Mercury or the Moon). Its main magical virtues are generally given as: protection, cleansing negative energies, emotional soothing, and enhancing psychic experiences. Burning storax in the home is said to drive away negativity and balance emotions, much like using dragon's blood or benzoin. It is thus used in banishing rituals or after an argument to restore vibrational harmony. At the same time, its sweet scent is considered sensual and conducive to love: witchcraft tradition recommends it in passion or seduction incenses. For example, a Wiccan incense to attract love may contain storax mixed with rose and cinnamon to "inspire loving feelings" through its aromatic component. Additionally, many practitioners use it for prophetic dreams and astral projection: it is burned in the bedroom before sleep, sometimes combined with mugwort or camphor, to induce clear dreams or facilitate a smooth astral exit. This practice comes from the fact that storax relaxes the body while keeping the mind alert, ideal conditions for trance state. Some traditional flying ointment recipes (for the sabbat) contained storax, probably for its mild sedative and olfactory hallucinogenic effect. In Wicca, it is also found in blends related to the Moon: as a more accessible substitute for camphor or sandalwood, storax is included in full moon incenses to enhance psychic energies. It is also used in fumigation during divination work (tarot, crystal ball) to open the third eye – a role it shares with myrrh or cedar. It should be noted that many current Wiccans actually use Sumatra benzoin (which they call storax due to linguistic confusion). But since the esoteric properties attributed to both are close, this does not create much inconsistency.
5.5. Uses in Hoodoo
In African-American Hoodoo, the term "storax" is rarely used; "benzoin" is preferred. Historically, storax resin (liquid) was not easily available to African-American practitioners, except as a tincture in pharmacopoeia (storax tincture was sold as an antiseptic). However, Sumatra benzoin was sold in herbal shops under the name Gum Benjamin and took its place. Thus, in Hoodoo Herb and Root Magic, Catherine Yronwode does not have a separate entry for storax – she includes it under benzoin, noting that gum benzoin and storax are interchangeable. However, its implicit use can be noted in some products: the esoteric oil Black Arts Oil (for black magic workings) includes storax in some traditional recipes, as it is considered an ingredient linked to infernal spirits (likely due to its Saturnian aspect). But this is a niche use. In mainstream Hoodoo, storax/benzoin is present in Pontifical incense used to bless the home, and in Van Van (the ultimate purification formula) – liquid storax is sometimes added to Van Van oil to fix the lemony scent and bring a warm aroma. It also serves as an olfactory base in Court of Justice or Domestic Peace incenses, as its smell has a calming psychological reputation (it is said to encourage people to be more conciliatory, thus useful in court or in couples). These uses are not universal but are attested in "family recipes." Overall, Hoodoo does not really distinguish storax from benzoin on an esoteric level: both are seen as pleasant-smelling resins bringing peace, luck, and protection. There is no elaborate planetary correspondence in this folklore; simply, it is recognized that storax/benzoin smoke is benign and favorable, hence its integration into blessed blends (like Three Kings incense or sanctification incenses). So, it can be said that in Hoodoo, storax shares the properties of benzoin (purification, luck, calm) and has no notable contradictory interpretation – just a lack of notoriety under its own name.
5.6. In Santería and African traditions
Storax as such is nonexistent in Afro-Caribbean and African traditions. The Yoruba or Fon had neither storax officinalis nor Liquidambar on hand, and did not need it in their original rituals. They also did not adopt it through Catholic syncretism, as the church incense used in Santería mainly contains frankincense and myrrh (and sometimes benzoin), but no liquid storax which is less common. Moreover, liquid storax from Turkey is a substance that has only been available in modern times, and even today few santeros or houngans use it. Traditional Afro-Caribbean practices rather use local plants burned as incense (such as sandalwood in Candomblé, or herbs like rosemary, star anise burned, etc.) for purification, rather than rare imported resins. It is possible that an Afro-Mexican curandero incorporates storax (black copal liquidambar) in a ritual mixing Santería and Mayan shamanism, but that would be a particular case. Therefore, it can be considered that Ifá/Yoruba and Vodou traditions have no traditional correspondence for storax. Any use of storax in these circles would be borrowed from Western grimoires or modern esoteric practices. Consequently, there is no interpretive divergence to note in these traditions – simply an absence of interpretation. Where storax is unknown, it provokes neither symbolic agreement nor disagreement.
Thus, these cults and customs remind us that the magic of incense is a universal symbolic language in which each culture has written a dialect, but where the essential message – the quest for the connection between Man and the Divine through fragrant smoke – ultimately remains the same across time and space.
