Incense resins such as frankincense, benzoin, copal, myrrh, and storax have been used for millennia in religious and esoteric practices. Each possesses magical properties that vary according to tradition. An overview.
Olibanum Resin (franckincense)
Botanical origin
Frankincense, commonly called simply “incense,” is an aromatic gum resin obtained from the Boswellia tree. The species primarily used is Boswellia sacra (synonym B. carterii), a small tree native to Dhofar in southern Oman. It is also found in Somalia, Yemen, and northern India, where Boswellia serrata grows. Boswellia trees belong to the Burseraceae family. When the bark is incised, the tree exudes whitish “tears” of resin that harden in the open air and are harvested after several 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).
Magical properties in Kabbalistic magic
In Hebrew mysticism and Western Kabbalistic magic, frankincense is considered a sacred resin associated with the highest spiritual realms. In Hebrew, it is called lebonah and is part of the Temple incense formula 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) because of its luminous and regal nature.
Indeed, frankincense is described as solar incense, carrying high spiritual vibrations. Its planetary correspondence is the Sun in many occult correspondences, and its element is purifying Fire. Burning frankincense is seen as a way to elevate the soul toward the divine: its smoke is said to rise straight toward the heavens to carry prayers. Thus, Kabbalists and magicians use it to consecrate the ritual space and invoke divine energies (it is worth noting that one 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).
In medieval and Renaissance European magic
In Europe, frankincense has always been valued in religious and magical rituals. The Catholic Church burns it in a thurible to bless and purify places and drive away evil influences—an practice inherited from ancient rites. Medieval and Renaissance grimoires attribute purifying and consecrating virtues to it. The astrological tradition reinforces the association between frankincense and the Sun: according to the planetary correspondences reported by Cornelius Agrippa, the incense of the Sun is frankincense. Burning frankincense on a Sunday (the 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: numerous medieval exorcisms recommend fumigating with blessed incense. In The Key of Solomon and other grimoires, frankincense appears in recipes for “pontifical incense” or planetary incense—mixed with myrrh, benzoin, or storax—to create suffumigations specific to each operation. Thus, in Solomonic magic, frankincense is a standard ingredient in the “art incense” used almost universally to sanctify circles and magical tools.
Properties in Wicca and Neo-Pagan Magic
In Wicca, frankincense is considered the quintessential universal incense. It corresponds to the element of Fire and to 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 books include protection, exorcism (driving away negative energies), purification, and enhanced spirituality. It is said that its smoke releases powerful vibrations that uplift the soul and drive away all evil. Practitioners burn it to consecrate the magic circle, cleanse a home of harmful influences, or facilitate meditation and induce mystical visions. Frankincense is used in many Wiccan incense blends, and Scott Cunningham notes that it can be replaced with copal or pine resin when necessary (evidence that its purifying role is considered comparable to that of other aromatic resins). In short, for Neo-Pagan witches and magicians, it is a versatile, high-vibration incense symbolizing divine light.
Use in Hoodoo (African American conjure)
In Hoodoo—an African American magical tradition influenced by Christianity—frankincense holds a prominent place as sacred biblical incense. Its use dates back to the combined influence of Christian practices (Baptist churches and Catholicism) and European “books of secrets” introduced into African American culture. It is burned while reciting psalms to sanctify the home or altar and carry prayers to God. Frankincense incense (combined with myrrh) is regarded as an offering to God and the saints—particularly during prayer vigils or to accompany novena candles. Catherine Yronwode states that frankincense is used on hot coals “during spiritual services, as recommended in the Bible.” In Hoodoo practice, frankincense is also believed to attract prosperity and blessings: carrying a few grains of incense or letting some burn brings luck and success in business. In addition, mixed with other ingredients, it is used to make condition incense (success incense or money-drawing incense), as its power of positive amplification is widely recognized.
In Santería and Afro-Caribbean traditions
In Santería (the Caribbean tradition derived from the Yoruba religion blended with Catholicism) and in certain Vodou practices, frankincense was not traditionally used by West Africans (original Yoruba rites favored offerings of food, herbs, or locally sourced aromatic woods). However, through Catholic syncretism, frankincense became an adopted aromatic offering in many Afro-Caribbean rites. For example, in Cuban Santería, frankincense is associated with Obatalá (the creator god of the Yoruba pantheon, identified with Christ or the Virgin Mary) because of its solar and purifying character. Burning white incense on Obatalá’s altar is regarded as a sign of respect and a way to purify the space for this deity of purity.
Similarly, during Vodou masses (a blend of Catholic liturgy and the worship of the loa), a church thurible filled with frankincense is sometimes burned to sanctify the assembly and honor the spirits as one would honor Christian saints. In Haitian Vodou, some houngans use frankincense (known there as “tieno” or simply incense) for rituals connected with the Rada mysteries (generally benevolent), or for funeral ceremonies to soothe the spirits of the dead. In Africa itself, frankincense is known in the Horn of Africa (Ethiopia and Somalia) for local medicinal and ritual uses, but in West Africa it was unknown before the colonial era. Today, however, through the Church or esoteric shops, it can be found on Vodou or Candomblé altars as universal purifying incense. There are few contradictions between traditions regarding frankincense: practically all of them view it as an agent of sacred purification, a “scent of holiness” that pleases the deities and dispels evil. In this sense, one may speak—as a contemporary author does—of a “universal” resin linking all religions.
Benzoin Resin (Benzoin)
Botanical origin
Benzoin (benzoin gum) is the aromatic resin produced by several trees of the genus Styrax. Two Asian species are primarily harvested: Styrax tonkinensis (Siam benzoin, native to Indochina—Laos and Vietnam) and Styrax benzoin (Sumatra benzoin, Indonesia). These trees of the Styracaceae family produce a balsamic oleoresin obtained by making incisions in the bark. Historically, another Mediterranean species, Styrax officinalis (known as the storax tree), provided a balm called solid storax. As a result, benzoin was often confused with storax: in the past, the term storax referred to benzoin imported from the Orient. For example, the “black storax” sold commercially is actually oxidized Sumatra benzoin, which has a dark appearance. The name benzoin comes from the Arabic lubān jāwī (“incense of Java”), recalling its Indonesian origin. This resin, with its sweet vanilla-like scent, is used both in perfumery and as incense.
Correspondences in Western Kabbalistic and occult magic
Benzoin does not appear in the Bible or in traditional Jewish Kabbalah (it was unknown in the Near East), but Western esotericists incorporated it into their planetary correspondences from the end of the Middle Ages onward. Notably, sources differ regarding its attribution: Agrippa (16th century) classifies storax/benzoin under the aegis of Jupiter (probably because of its uplifting fragrance and its ability to “amplify” other ingredients, qualities considered jovial).
By contrast, 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 bright aroma and the speed with which its smoke affects the mind (Mercury being the planet of air and intellect). In other correspondences, it is linked to the Sun—the Wiccan tradition considering it masculine and solar. In Hermetic Kabbalah, benzoin is associated with the sephira Hod (Mercury) or Tiphereth (Sun), depending on the author. In any case, everyone agrees on its power of purification and its role as a “spokesperson”: it carries intentions upward and reinforces the effect of prayers or spells. Thus, Eliphas Lévi and other 19th-century occultists regarded benzoin as an incense of Air, capable of elevating mental and spiritual vibrations during angelic invocations or works of knowledge.
In European magic (Middle Ages–Renaissance)
Benzoin did not enter Europe until the end of the Middle Ages, via trade routes with Southeast Asia. Renaissance alchemists and magi quickly adopted it for its pleasant fumigatory properties. It appears in several fumigation recipes from that period: the “Incense of the Moon” in Pierre d’Abano’s Heptameron (13th century) uses camphor and myrrh, but later versions sometimes replace these ingredients with benzoin, indicating that it was growing in popularity.
Late magical manuscripts (17th–18th century) mention benzoin/storax in blends intended to evoke spirits or consecrate talismans. Its gentle smoke creates an atmosphere conducive to psychic relaxation and visionary work. A modern text summarizes that storax (benzoin) was “required in many medieval and ancient recipes,” particularly to calm, relax, and promote sleep, but also that it was burned to protect against negative influences. This duality is interesting: on the 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-like fragrance is sensual, “inspiring love”—it appears in recipes for potions or ointments intended to arouse affection.
Magical Properties in Wicca
Wicca and contemporary magic regard benzoin as a staple incense ingredient, particularly for its purifying and amplifying properties. 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 appears in many rituals to increase wealth or success. In addition, benzoin is recognized for its power to amplify the strength of other herbs with which it is combined. Witches therefore use it as a “booster” in blends: a pinch of benzoin in a ritual incense increases its strength and magical reach. Cunningham also states 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 (the center of personal power) and solar deities such as Ra or Apollo, highlighting its radiant and benevolent nature. In practice, Wiccans use it to purify ritual objects (through fumigation or as an ingredient in consecration oil), consecrate circles, attract luck, and even in love spells (its gentleness encouraging affectionate energies). Benzoin is often recommended as a substitute in incense recipes when one resin or another is unavailable, demonstrating its versatility. Its elemental correspondence (Air) makes it an incense associated with the east and dawn, used to dispel negativity like a fresh breeze and carry incantations toward the heavens.
Uses in Hoodoo
In African American Hoodoo, benzoin is prized for attracting luck and household peace. A saying from this folklore holds that burning benzoin on a hot coal brings luck and peace of mind. Indeed, the “peace of mind” provided by its soothing fragrance is useful after arguments or for calming a troubled home. Benzoin is thus a common ingredient in condition incense blends such as Peaceful Home (peaceful household) or Money Drawing (attracting money): it purifies the atmosphere while infusing it with a vibration of prosperity. In traditional hoodoo recipes, it is mixed with frankincense and other resins: “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 are sometimes used interchangeably. It is also worth noting that benzoin powder was used as a fixative in many hoodoo powders and oils, demonstrating its role as a magical support. Overall, conjure practitioners view benzoin as a “good-luck” resin: it brings a gentle blessing into the home (calm, harmony) and “gives strength” to occult workings (like an energetic aid). It is therefore a foundational incense, used continuously to maintain a spiritually healthy and favorable atmosphere.
In Santería and African Traditions
Benzoin is not traditionally used in the Yoruba religion of Ifá or in original Vodou worship—these cultures did not have access to this Asian resin. Moreover, their rituals focus less on resin fumigations than on local plants (leaves, wood, ...). Today, in Santería or Palo Monte circles in Cuba, benzoin may occasionally be found in esoteric shops, but its use remains secondary compared with frankincense or myrrh. When it is used, it is generally under the influence of ceremonial or Wiccan magic, for the same purposes of purification and good luck. A Cuban santero may add benzoin to incense offered to the Virgin of Charity (the syncretic counterpart of Oshún) to strengthen love and prosperity in the home, but this is not a long-established, documented Afro-Cuban custom.
Similarly, in Benin and Nigeria, benzoin is virtually unknown outside modernized esoteric circles. It can be said that African traditions do not assign any distinct symbolism to benzoin, apart from that imported from the Western world: an exotic incense valued for its pleasant fragrance and cleansing power. No major contradiction emerges here, other than the absence of this ingredient from traditional African systems. Where it has been adopted (in the Americas and Europe), there is broad agreement about its properties: purification, amplification, and attracting good luck. The only nuance is that the hoodoo tradition places slightly more emphasis on its everyday lucky-charm aspect, whereas European esoteric tradition treats it as a more “cosmetic” ingredient (a spiritual perfume), and Wicca views it as a solar incense of wealth. These differences are more matters of degree than of kind.
Copal resin
Botanical origin
Copal is not a single botanical species but a generic term for various resins collected from tropical trees, particularly in the Americas. The word comes from the Nahuatl copalli, meaning “incense.” The copal used as incense mainly comes from the Burseraceae family (the same family as frankincense and myrrh): Bursera bipinnata (Mexican white copal) and Bursera copallifera are trees native to Mexico that produce highly fragrant copal. Different varieties are distinguished: copal oro (golden), copal blanco (white), and copal negro (black), depending on the species and quality. In general, these trees grow in Mesoamerica (Mexico, Guatemala, and Honduras) as well as in the Amazon region (other similar resins exist in South America under the name Brazilian copal, ...). Copal can also refer to semi-fossilized resins from East Africa (Oman or Zanzibar copal, from Hymenaea), but in an esoteric context, the term most often refers to Central American copal. This Indigenous American copal is harvested by making incisions in the trunk; the resin that flows out is softer than frankincense and sticky, then hardens into a translucent yellowish mass. Pre-Columbian civilizations (the Maya and Aztecs) used it as a fundamental ceremonial incense, just as frankincense was used in the East.
Place in Kabbalistic and Western magic
As an incense from the New World, copal is absent from classical Western Kabbalistic sources and grimoires. Nevertheless, modern ceremonial magic has incorporated it by analogy with frankincense. Some occultists indeed consider copal a frankincense equivalent: it belongs to the same botanical family and releases smoke that is likewise 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 in recipes, showing that it is credited with comparable virtues. As a sign of this assimilation, copal is also sometimes associated with the element of Fire and the Sun in the West.
However, it is not explicitly mentioned in ancient Kabbalistic or astrological texts. One may say that in contemporary Hermetic Kabbalah, copal simply inherits the solar and purifying attributes of frankincense, without any additional specific symbolism. It is used for the same purposes: consecration, spiritual elevation, and 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 may consider its vibrational effect equivalent (some even believe that American copal, being “new” to the Western tradition, brings a fresh and powerful energy).
In historical European magic
Medieval and Renaissance European magic was not familiar with copal, which was not imported until after the discovery of the Americas. It therefore does not appear in the classic grimoires. It was only in the 19th century, with the growing interest in exotic traditions, that copal began to be mentioned by a few French or English occultists intrigued by pre-Columbian incense. Éliphas Lévi refers to “copal gum” among the incense resins with purifying properties in his correspondences, but this remains marginal compared with the use of frankincense or benzoin. In Europe, copal was used mainly 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. In the absence of ancient European esoteric sources on copal, one can conclude that its historical magical use there is nonexistent. Any incorporation of copal into European rituals is therefore a modern phenomenon resulting from cultural exchange.
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 nicknamed “Mayan incense” and used to clear negative energies and consecrate sacred space, much like white sage or frankincense. When burned, copal releases a smoke with a sweet, resinous, and citrusy fragrance, perceived as soothing, invigorating, and conducive to connecting with the divine.
Modern witches note that copal creates a strong sensation of peaceful trance—ideal for accompanying meditation, yoga, or any ritual requiring clear awareness. Its widely recognized magical properties include: purification (it “cleanses” places, objects, and auras by driving away harmful entities or energies), elevated consciousness (it helps connect with spirit guides, ancestors, and higher realms), improved concentration (its scent grounds you in the present moment and calms the mind), as well as energetic healing (it is attributed with beneficial effects on the emotional level, helping restore inner balance). In Wiccan circles, it is common to burn copal during the autumn sabbats—especially at Samhain, the festival of the dead—to honor Native American ancestors or simply to open a protected sacred space before rituals. Moreover, because of its strong cultural connection to the pre-Christian civilizations of the Americas, copal is sometimes used to invoke the energies of the earth, untouched nature, or Indigenous deities. A neo-shamanic healing ritual may involve burning copal as an offering to the four directions and the spirits of the tropical rainforest. In short, Wicca and neo-paganism value copal as a “new” sacred resin, purifying like frankincense but with its own energetic “signature” linked to the Mesoamerican earth.
Uses in Hoodoo and Latin American folklore
In classic African American Hoodoo, copal is not among the traditional incense materials (once again, it arrived later). However, in the 20th century, the influence of Latino-Caribbean botanicas in the United States introduced copal into esoteric catalogs. Today, some conjure shops offer copal to Mexican American or mixed-heritage customers, and Hoodoo practitioners may use it with full awareness of its origins. Folklorists describe it as “the sacred incense of the Maya Indians of Central America”. As a result, copal is regarded as a powerful incense for making offerings to Indigenous spirits and cleansing away curses. For example, a Hoodoo practitioner might burn copal to purify a haunted house while invoking the protective Native American spirits of the place. It is also found in certain modern spiritual blends: for instance, a highly popular cleansing formula combines camphor, pine resin, and copal to drive away evil. In Mexican tradition (curanderismo), copal is ubiquitous: it is burned during Día de los Muertos (the Day of the Dead) on family altars to guide the souls of the deceased with its fragrance. This knowledge has been passed down to Chicano/Tex-Mex communities, who have incorporated it into their magical practices: thus, a border witch may recommend copal to cleanse a person of the “evil eye” or to attract abundance (for example, by combining it with a prayer to Our Lady of Guadalupe).
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 traditionally include copal in their ritual repertoire. Copal is specific to Central American cultures and does not grow in the Caribbean. However, areas of syncretism exist between Afro-derived and Indigenous religions, particularly in countries such as Mexico, Guatemala, and even Venezuela. In these contexts, copal may have been incorporated into the rituals of certain Garifuna or Afro-Mayan communities. For example, in Mexico, there are brujos (sorcerers) who combine Afro-Cuban magic and Mayan shamanism: they use “copal pom” (Mayan copal) as an offering not to African orishas, but to nature spirits and local ancestors, before proceeding with invocations of African deities. This remains fairly localized, however. In Cuban Santería or traditional Haitian Voodoo, copal remains virtually absent from ritual practice—Catholic tradition (church incense made from 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 for experimenting with new vibrations.
A Vodou priest might, out of curiosity, burn copal to honor a loa associated with the earth or the forest (by analogy with Mayan nature gods), but this would be a personal innovation. Thus, in African and Afro-Caribbean traditions, there is no codified symbolism associated with copal: if it is used, it is borrowed from Indigenous Mesoamerican practices, with which it retains its original meaning (purification and offerings to earth gods and ancestors). There are no obvious contradictions between traditions regarding copal: wherever it is used, it serves to purify, consecrate, and connect the human world with the divine world. The only difference is its central importance among the Maya and Aztecs (the foremost incense of blood and the gods), whereas it remains secondary or optional in imported systems, whether Western or Afro-diasporic. In the West, it is viewed 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 in interpretation—rather, it reflects a variation in usage due to geographical context.
Myrrh Resin
Botanical origin
Myrrh is an aromatic gum resin obtained from the trunks of certain small thorny trees of the Commiphora genus, particularly Commiphora myrrha. The “myrrh tree,” or balsam tree, is native to the arid regions of the Horn of Africa and the Arabian Peninsula. It is found mainly in Somalia, Ethiopia, Djibouti, Yemen, and southern Saudi Arabia. It is a shrub approximately 3 meters tall, with a gnarled, thorn-covered trunk. Its bark is incised to harvest the resin, which flows out in “tears” that turn yellow-brown when dried. Myrrh was already renowned in antiquity: it was used by the Egyptians for embalming, mentioned in the Bible as one of the three gifts of the Magi, and featured in many rituals. Its name comes from the Hebrew môr (bitterness), reflecting its very bitter taste. There are various types of myrrh; the best-known is so-called bitter myrrh (Commiphora myrrha), but sweet myrrh, known as opoponax, is also distinguished. Here, we will discuss classic bitter myrrh.
Properties in Kabbalistic magic and Hermetic symbolism
Myrrh has profound symbolism associated with the notion of sacrifice, painful wisdom, and mystical femininity. In Kabbalah, myrrh is associated with the sephirah Binah (Understanding, the 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 she is called Mary, Isis, or Binah.” Thus, burning myrrh in Kabbalah means invoking the energy of the Mother of Sorrows, who comforts the afflicted and presides over the mystery of death and spiritual rebirth. Myrrh also appears in the Bible as an ingredient in the holy anointing oil (Exodus 30:23)—it was mixed with other aromatics to consecrate priests and Temple objects. From a Kabbalistic perspective, it can be seen as a symbol of softened severity (Binah being linked to Saturnian Severity): myrrh, bitter in itself, is tempered by the sweetness of cinnamon and cassia in the anointing oil, reflecting the balance of the divine attributes. Furthermore, some Hermetic planetary correspondences assign myrrh to Saturn, the planet of death, time, and limitations. This is consistent with its role in embalming the dead and its association with Binah-Saturn. Other authors also link it to the Moon (because of its white fragrance and use by lunar goddesses) or even to Mars (because of its dark color and antiseptic properties for wounds, as it was used by Greek soldiers). However, most modern Kabbalists place it under the Moon (and water) as incense of the Black Goddess, the dark aspect of the moon.
In European magic (Antiquity, the Middle Ages, the Renaissance)
Myrrh occupies an important place in the magical and religious history of the Mediterranean region. The ancient Egyptians considered it the “oil of mummies”: it was included in embalming mixtures to purify and protect the bodies of the dead. According to Plutarch, Egyptian priests burned myrrh at noon in honor of the sun god Ra (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 medical perfumery (ointments for treating wounds). In the New Testament, myrrh symbolizes redemptive suffering: it was 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 significance did not escape medieval monks and magicians: myrrh was regarded 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 frankincense; for example, an incense recipe for consecrating a magical sword advises combining “masculine incense (frankincense) and feminine incense (myrrh)” to balance the forces.
Myrrh was reputed to be able to banish impure spirits when combined with frankincense—somewhat like the way the Church uses pontifical incense. Cornelius Agrippa states that myrrh, being cold and dry by nature, belongs to Saturnian influences; moreover, an ancient recipe he cites for Saturn includes frankincense and myrrh ground together. Paradoxically, other texts associate it with Venus because of its role in love ointments (myrrh was also considered an aphrodisiac in certain Oriental preparations). In medieval magic, it appears in love potions inspired by the Song of Songs (where myrrh is mentioned in an erotic context, as a symbol of the beloved woman). 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 spagyricists attributed myrrh an affinity with the soul (Spirit) more than with the body, because it preserves dead bodies yet “volatilizes the spirit” through its fragrance. They used it as incense during necromantic operations or meditation on death. Thus, a complex picture emerges: in Europe, myrrh is sometimes solar (the incense of the Sun God at noon), sometimes Saturnian (through its connection to death and burials), and sometimes Venusian/lunar (through its connection to the Mother Goddess and the fragrances of love). This multiplicity may have led to contradictory interpretations among different authors. Nevertheless, all agree on its sacred, solemn character and its connection to mysteries. It was considered a more introverted and “subterranean” incense than frankincense: if frankincense directly lifts prayer toward Heaven, myrrh opens the door to the unconscious and the world of the ancestors.
Benefits in Wicca and contemporary magic
Wicca and modern esoteric traditions have synthesized these correspondences 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, which is strongly connected to the sacred feminine. Thus, in Wicca, myrrh is used to honor the Goddess in her aspects of Wisdom and Death (for example, the dark goddess Hecate or the mourning Virgin Mary). It is often burned in combination with frankincense—the classic frankincense-and-myrrh pairing symbolizes the God and the Goddess, or the Sun and the Moon, in harmony. Myrrh on its own is believed to have a highly introspective vibration: it is used for rituals of deep meditation, inner healing, and grief work. Its dense smoke is conducive to entering an altered state of consciousness, which is why many witches burn it to communicate with the spirits of ancestors or the dead (myrrh = a bridge to the Beyond). One Wiccan article notes that myrrh “leads to rich and rewarding meditation, especially focused on introspection.
It is used to heal personal grief and connect with the dead and the underworld.” For this reason, it is found in Samhain rituals (the festival of the Dead). Myrrh also has an aspect of protection and purification that complements frankincense: its antiseptic nature on the physical level is transposed to the esoteric level as a power to drive away negative influences and seal the aura. Consequently, Wiccans use it to purify magical tools, consecrate circles (especially under the waning Moon), and guard against psychic attacks. Less commonly, myrrh is incorporated into dream or astral blends: some burn it before sleep to induce prophetic dreams or astral travel, particularly in combination with chamomile or mint (linked to its calming effect on the mind).
Emotionally, myrrh is said to “open the soul to let go of pain”—it is sometimes recommended to burn it after a breakup or bereavement to help release sorrow and regain peace. Wicca also values myrrh for more luminous workings: a frankincense, myrrh, and cinnamon blend to bless a new project, for example, in which myrrh represents wisdom and protection surrounding the project. Thus, in modern magic, myrrh remains a versatile resin, but one oriented toward deep spirituality, soul healing, and psychic protection rather than material requests. Its Sun/Moon duality is sometimes mentioned: some people find it very solar (the energy of Ra, mystical vitality), while others perceive it as moody and dark; this ambiguity echoes the different energies intertwined within it, as one author puts it: “Myrrh is a complex fragrance with multiple interconnected energies. This ancient treasure refuses to be categorized in only one way.” This observation aptly illustrates the varied interpretations surrounding it—which are not necessarily contradictory, merely multifaceted.
Hoodoo Uses
In African American Hoodoo, myrrh is, like frankincense, a sacred biblical incense incorporated into the practices through the Church. It is almost always used in combination with frankincense in spiritual incense blends. One Hoodoo catalog states: “Usually burned with frankincense, for healing, purification, romance, and love.” This statement 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 is used not only to purify a place and elevate a prayer, but may also be employed in rituals for romantic reconciliation or healing relationships (hence the references to “romance, love”). In common practice, rootworkers prepare “Three Kings Incense” (or Three Kings incense), blending equal parts frankincense, myrrh, and sometimes benzoin, which they burn to bless a home or business—driving away harmful influences and attracting divine blessing to the place. For personal purification, one may “wash oneself” in the smoke of myrrh and frankincense incense while reciting a psalm, in order to rid oneself of a curse or sadness. Myrrh is also included in mojo bags (gris-gris) associated with health: a small piece of resin is added to medicinal roots to strengthen their spiritual healing effect. Regarding communication with the dead, Hoodoo practitioners, who are deeply Christian, do not practice “pagan” necromancy, but during Masses for the Dead or the Day of the Dead, they may burn church incense (and therefore incense containing myrrh) on graves to honor the ancestors—a practice inherited from Catholicism. Myrrh also has a medicinal use in Hoodoo herbal medicine: ground into powder, it is used to prepare an ointment for treating cuts or infections (it is an antiseptic), and it is believed that applying it with prayer accelerates the person’s spiritual healing. In summary, in Hoodoo, myrrh is regarded as a sacramental incense with great protective and healing power, often inseparable from frankincense. While Wicca tends to associate it more with sadness and mystery, Hoodoo places greater emphasis on its healing and conciliatory role (healing the body and heart, and restoring harmony). There is no real contradiction, but rather a difference in emphasis: where a European occultist sees myrrh as austere and funerary, a Hoodoo rootworker sees it above all as a prayer incense that brings peace (including peace within a couple, hence love). These differences stem from the cultural context: conjure doctors incorporated myrrh through religion (as a symbol of divine love and the healing of Jesus) rather than through the pagan mythology of the mourning Goddess.
In Santería and Vodou
Like frankincense, myrrh was not used by West Africans in their original religious practices. However, syncretism with Catholicism introduced it into Afro-Caribbean rituals. In Cuban Santería, myrrh is part of the composition of “Church incense,” used to purify the temple (the casita) before the misa espiritual or ceremonies invoking the Catholic saints associated with the orishas. Some reserve it as an offering to the Virgin Mary (a syncretic representation of Obatalá or Oshún, depending on the aspect), since myrrh is associated with Our Lady of Sorrows—an image that corresponds to Yemayá in her mater dolorosa aspect. In Haitian Vodou, myrrh is not traditionally burned on its own, but its fragrance can be found in “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 fragrant 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 associated with cemeteries, fits loas such as Maman Brigitte (Baron Samedi’s wife and protector of graves) quite well—although no traditional source explicitly mentions “burning myrrh for Maman Brigitte,” the symbolic association is coherent (Maman Brigitte is syncretized with Saint Brigid, and one can imagine offering myrrh incense to this saint). Generally speaking, Afro-Caribbean traditions have not developed their own correspondences for myrrh: they use it in the Catholic manner, as sacred incense for prayer and purification, and possibly as a symbol of sacred mourning. There is therefore no significant internal contradiction—only a transmission of symbolism. We can see that some interpretive differences mentioned earlier (solar versus 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 yet sanctifying and protective, without quibbling over its ruling planet. This resin thus connects all these cultures by embodying everywhere the idea of the sacred interwoven with the bitterness of life.
Storax Resin (Styrax)
Botanical origin
The storax (also spelled styrax) refers to a dark balsamic resin originally obtained from a Mediterranean shrub called Styrax officinalis (family Styracaceae). This shrub, once found in the Levant (Syria, Palestine, and Cyprus), exudes through its bark a solid balm known as storax or Levant benzoin. However, most storax used today actually comes from another tree: Liquidambar orientalis (family Altingiaceae), also called liquid styrax or Turkish sweet amber. Liquidambar orientalis is a tree native to Turkey (the Asia Minor region) that is incised to collect a blackish liquid resin known as liquid storax. A related species, Liquidambar styraciflua, native to the Americas (from Mexico to the United States), produces a similar balm. Commercially, a distinction is often made between “true” Turkish storax (Liquidambar) and benzoin (Asian Styrax), but the two were formerly confused. Storax resin appears as a viscous brown-black mass or as aromatic blackish concretions. Its scent is sweet and balsamic, with notes of vanilla and bitter almond. It should be noted that “styrax” is also used to refer to this resin (styrax being the Latin name), which contributes to confusion with the botanical genus Styrax. In summary, storax may refer either to Liquidambar balm (Asia Minor and the Americas) or to Styrax officinalis balm (the Levant), the latter being virtually no longer used today.
Correspondences in Hermetic Kabbalah and Western occultism
Storax occupies an interesting place in occult correspondences, as different authors have attributed it to different planets. Agrippa considers it the principal incense of Jupiter. Indeed, in his Occult Philosophy, he lists “Storax, saffron…” for Jupiter as a suitable fumigation, presumably because of its rich, “royal” fragrance. By contrast, later traditions (the Golden Dawn, etc.) use storax primarily for Mercury. A modern list of planetary offerings includes storax among the Mercurial incenses recommended alongside mastic. This Mercurial attribution is explained by storax’s association with the element Air and with rapid mental stimulation (Mercurial qualities). Moreover, some occultists assign it a lunar or Saturnian nature: the sticky black resin evokes the Dark Moon or Saturn. A contemporary esoteric source thus states that storax has simultaneous planetary associations with Mercury, Saturn, and the Moon. This likely reflects the fact that storax calms the mind (Moon), protects against negativity (Saturn), while also possessing a volatile aromatic quality (Mercury). In Hermetic Qabalah, storax is associated with Yesod (Moon) or Hod (Mercury), depending on the source. Eliphas Lévi mentions storax as an ingredient in certain evocatory fumigations (without specifying the planet). The Golden Dawn uses it in the Art Incense known as “Abramelin,” along with frankincense and benzoin, which places it more on the side of Mercury (since Abramelin refers to Mercury/Hermes). In any case, storax is considered an incense of psychic energy: it is believed to promote altered states of consciousness and astral projection. Modern authors note that it is burned to induce prophetic dreams or journeys of the soul (a lunar quality), while also elevating logical thought (a Mercurial quality) and banishing evil (a Saturnian quality). This versatility makes it something of a “chameleon” in occult correspondences, which may seem contradictory from one source to another. Overall, in Western Qabalah and occultism, storax is understood to be linked to the mental and astral spheres, and is used to calm, protect, and encourage intellectual and dream magic.
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 an ingredient in Kyphi (a sacred incense composed of many ingredients). The writings of Theophrastus and Dioscorides mention storax (styrax) as a precious balm imported from Syria. During the Middle Ages, Arabic pharmacology valued it for its medicinal properties (expectorant and nerve-calming). In magical practice, storax appears in numerous medieval incense recipes. For example, in the Picatrix (a 13th-century astrological grimoire), storax is included in the incense of Venus as a sweet aroma that attracts love. Conversely, the Liber Juratus (a text of angelic magic) uses it in Saturday conjurations (a darker aspect). In Europe, it was traditionally associated with relaxation and sleep: medieval herbals recommended burning storax in the bedroom in the evening to sleep well. By extension, it was used to facilitate divinatory dreams – Hildegard of Bingen mentions that the scent of storax “delights the brain.” In esoteric practice, storax was often used in rituals of spirit evocation: it was believed that its pleasant smoke would please entities and encourage them to manifest without aggression. The Goetia (Lemegeton) contains incense recipes in which storax is combined with lignaloes, frankincense, and other ingredients to invoke a particular aerial spirit. In addition, the famous Pontifical Incense, an ecclesiastical blend for the church, contains storax alongside frankincense, myrrh, and benzoin. This means that the Church itself used storax (at least officinal storax, known as grain storax) to scent its censers during major Masses – there is evidence of this in Europe as early as the 13th century. Through this association, storax acquired a sacred and protective aura, being mixed into blessed incense. Medieval Christian magicians therefore regarded it as a beneficial and protective component. For example, a recipe in the Grimorium Verum for driving away an evil spirit prescribes burning storax and saltpeter: storax for its soothing quality, and saltpeter for its expulsive aspect. This combination of roles (soothing versus expulsion) clearly illustrates the use of storax as a magical calming agent – calming for the practitioner (it eases fears) and calming for spirits (it soothes them or attracts them positively). During the Enlightenment, storax remained present in esoteric recipes, particularly alchemical (Paracelsus used it in certain quintessence distillations) and theurgical ones. In short, in premodern European magic, storax was regarded above all as a beneficial and prophylactic incense: it calms the mind, inspires sensual love (hence its use in certain seduction charms), and drives away negative energies. It is relatively uncontroversial, with few writings criticizing it. Its only complexity lies in the various planets associated with it: Saturn (because of its color and nocturnal use), Venus (because of its sweet, erotic fragrance), or Mercury (because of its mental effect). This ambiguity has persisted to the present day.
Magical Properties in Wicca and Modern Witchcraft
Contemporary witches use storax fairly frequently, often in the form of Sumatra benzoin powder incorrectly called storax. In Wicca, it is considered a resin associated with the element of Earth and having multiple planetary influences (sometimes listed as an incense of Mercury or the Moon). Its main magical properties are generally said to include: protection, purification of negative energies, emotional soothing, and facilitating psychic experiences. Burning storax in the home is said to drive away negativity and balance emotions, much as dragon’s blood or benzoin might be used. It is therefore used during banishing rituals or after an argument to restore vibrational harmony. At the same time, its gentle fragrance is considered sensual and conducive to love: witchcraft tradition recommends it in passion or seduction incense blends. For example, a Wiccan incense blend for attracting love may contain storax mixed with rose and cinnamon to “inspire romantic feelings” through its aromatic component. In addition, 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 vivid dreams or facilitate a gentle astral projection. This practice is based on the belief that storax relaxes the body while keeping the mind alert, ideal conditions for a trance state. Some traditional flying ointment recipes (for the sabbat) contained storax, probably because of its mild sedative effect and olfactory hallucinogenic properties. In Wicca, it is also found in blends associated with the Moon: as a more accessible substitute for camphor or sandalwood, storax is included in full-moon incense blends to enhance psychic energies. It is also used in fumigation during divination practices (tarot, crystal ball) to open the third eye—a role it shares with myrrh and cedar. It should be noted that many modern Wiccans actually use Sumatra benzoin, which they call storax due to linguistic confusion. However, since the esoteric properties attributed to the two are similar, this does not create any major inconsistency.
Uses in Hoodoo
In African American Hoodoo, the term “storax” is rarely used; “benzoin” is preferred. Historically, liquid storax resin was not readily available to African American practitioners, except as a tincture in pharmacopoeia (storax tincture was sold as an antiseptic). By contrast, Sumatra benzoin was sold by herbalists under the name Gum Benjamin and took its place. Thus, in Hoodoo Herb and Root Magic, Catherine Yronwode does not provide a separate entry for storax—she includes it under benzoin, noting that gum benzoin and storax are interchangeable. Its implicit use can nevertheless be noted in certain products: the esoteric oil Black Arts Oil (for black magic workings) includes storax in some traditional recipes, as it is considered an ingredient associated with infernal spirits (probably through its Saturnian aspect). But this is a niche use. In mainstream Hoodoo, storax/benzoin is found in Pontifical incense, used to bless the home, and in Van Van (the quintessential cleansing formula)—liquid storax is sometimes added to Van Van oil to fix the lemony fragrance and provide a warm aroma. It also serves as an olfactory base in Court Case or Peaceful Home incense, as its scent has a reputation for being psychologically calming (it is said to encourage people to be more conciliatory, making it useful in court or in relationships). These uses are not universal but are attested in “family recipes.” Overall, Hoodoo does not really distinguish between storax and benzoin on an esoteric level: both are viewed as good-smelling resins that bring peace, luck, and protection. There is no elaborate planetary correspondence in this folklore; people simply recognize that the smoke of storax/benzoin is benign and beneficial, hence its inclusion in blessed mixtures (such as Three Kings incense or sanctification incenses). Thus, in Hoodoo, storax can be said to share benzoin’s properties (cleansing, luck, calm) and has no notable contradictory interpretation—only a lack of recognition under its own name.
In Santería and African traditions
Storax itself is absent from Afro-Caribbean and African traditions. The Yoruba and Fon had neither storax officinalis nor Liquidambar available, nor did they need them in their original rituals. Nor did they adopt it through Catholic syncretism, since the church incense used in Santería mainly contains frankincense and myrrh (and sometimes benzoin), but not liquid storax, which is less common. Moreover, liquid storax from Turkey is a substance that only became available in modern times, and even today few santeros or houngans use it. Traditional Afro-Caribbean practices tend to use local plants burned as fumigants instead (such as sandalwood in Candomblé, or herbs like rosemary and burned star anise) for purification, rather than previously unknown imported resins. An curandero of Afro-Mexican background might incorporate storax (black copal liquidambar) into a ritual blending Santería and Mayan shamanism, but that would be an isolated case. We can therefore consider that Ifá/Yoruba and Vodou traditions have no traditional counterpart 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 unfamiliar, it inspires neither symbolic agreement nor disagreement.
Thus, these faiths and customs remind us that the magic of incense is a universal symbolic language, with each culture having written its own dialect, while the essential message—the quest for a connection between humanity and the Divine through fragrant smoke—ultimately remains the same across time and space.
Merci