Annett is developing an archive of her printed works and catalogues which can be downloaded for free using a creative commons philosophy. Please always credit Sally Annett and the project, galleries and artists involved. Each exhibition and collaboration led by Annett @ Atelier Melusine will have an electronic catalogue produced.

The "Dolls - Pupa' Catalogue
23 March - 04 Mai 2019

Click here to download this file

'The Systems of Philosophy - Wall(paper)s of Mind'
07 December 2019 - 07 March 2019

Click here to download this file

Click here to download this file

The hymns from Traces Temporal Magical Manuscripts


The Hymn to Typhon
Manuscript: Bibliothèque Nationale Suppl. Grec. 574 = PGM IV (lines 261-273)
Origin of papyrus: Thebes (modern Luxor), Egypt
Date of papyrus: 4th century CE
Performed by: Luis Calero

The Hymn to Typhon is one of a number of metrical hymns which appear in the magical papyri alongside non-metrical spoken formulae. This particular one is used in a ritual which calls upon the god Seth-Typhon to give his power to the user in a process called a sustasis, or “conjunction”, which will allow the ritualist to command the gods with the power of Typhon in order to carry out divination procedures; this hymn is to be spoken to the sun at dawn while the ritualist wears a silver amulet hung from their neck by a strip of donkey skin. This hymn is written in dactylic hexameter, the metre associated with epic poetry, such as Homer’s Iliad and Odyssey, which was originally sung out loud; this is also the most common metre used in the magical hymns. In this recording, Luis Calero has provided an original interpretation of the piece, using the internal rhythm of the text as part of the intrinsic melody. A marimba has been used in octaves, as well as a drum-beat using a wooden stick to stress the name of Typhon, but the prosody of the verse guides the music of the hymn.

Text and translation

Σὲ καλέω τὸν πρῶτα θεῶν οργιλον διέποντα,
σὲ τὸν ἐπουρανίων σκῆπτρον βασίλειον ἔχοντα,
σὲ τὸν ἄνω μεσεύοντ’ ων ἄστρων Τυφῶνα δυνάστην,
σὲ καλέω τὸν ἐπὶ τῷ στερεώματι δεινὸν ἄνακτα,
σὲ τὸν παμφοβερόν, καὶ τρομερὸν καὶ φρικτὸν ἐόντα,
σὲ τὸν δηλον ἀμήχανον, μισοπόνηρον,
σὲ καλέω, Τυφών, ὥραις ἀνόμοις ἀμετρήτοις,
σὲ τὸν ἐπ’ ἀσβέστῳ βεβηκότα πυρὶ λιγείῳ,
σὲ τὸν ἄνω χιόνων τε κάτω τε πάγους σκοτεεινοῦ,
σὲ τὸν ἐπευκταίων Μοιρῶν βασίλειον ἔχοντα
κλῄζω, παντοκράτωρ, ἵνα μοι ποιῇς ἅ σ’ ἐρωτῶ
κεὐθὺς ἐπινεύσῃς μοι ἐπιτρέψῃς τε γενέσθαι.

I call you, the one who first who first administered the wrath of the gods,
You, who hold a royal scepter over the heavens,
You, who are the midpoint of the stars above, lord Typhon,
I call you, the dread lord of the firmament,
You, who are wholly terrifying and fearful and awesome,
You, clearly unstoppable, hater of evil,
I call you, Typhon, in unlawful and immeasurable hours,
You, who walked on unquenched and clear-voiced fire,
You, who are above snows and below dark crags,
You, who hold sovereignty over the precious fates,
I call on you, almighty one, that you do what I ask of you,
that you at once assent to me, and you command that it be!

The Oxhyrhynchus Hymn

Manuscript: P. Oxy. XV 1786
Origin of papyrus: Oxyrhynchus (modern Bahnasa), Egypt
Date of papyrus: 3rd century CE
Performed by: Luis Calero

The Oxyrhynchus Hymn is the earliest known Christian hymn containing both lyrics and musical notation, using the classical Greek system to indicate the melody. This text is at once the latest example of this kind of notation, and probably the earliest surviving Christian liturgical text. It consists of a hymn to the Trinity, an early Christian prayer used by those who prayed to their new god, and was presumably intended to be sung during a church ritual, although this particular example is copied on the back of an account recording the sale of corn. The hymn is dominated by a hypolydian harmony, a mode belonging to the Aristoxenian system, which had soothing and joyful associations particularly appropriate in a piece of music addressing God. Because it survives only in part, Luis Calero has reconstructed it, drawing on the work of Giovanni Battista Pighi and Egert Pöhlmann. He begins the hymn with a free ekphonesis (“acclamation” or “recitation”) invoking the Father of the World, and the piece opens and closes with the accompaniment of a small bell, which is also use to highlight a few important moments of the song.

Text and Translation

Σε Πάτερ κόσμων, Πάτερ αἰώνων, μέλπωμεν ὁμοῦ,
ὅσα κόσμος ἔχει πρὸς ἐπουρανίων ἁγίῳ σελάων Πρυτανήῳ,
Σιγάτω, μηδ' ἄστρα φαεσφόρα [...]σθων,
ἐκλειπόντων ῥιπαὶ πνοιῶν,
πηγαὶ ποταμῶν ῥοθίων πᾶσαι.
ὐμνούντων δ’ἡμῶν Πατέρα χ’Υἱὸν χ’Ἅγιον Πνεῦμα,
πᾶσαι δυνάμεις ἐπιφωνούντων· Ἀμήν, Ἀμήν.
Κράτος, αἶνος ἀεὶ καὶ δόξα Θεοὶ
δωτῆρι μόνῳ πάντων ἀγαθῶν· Ἀμήν, Ἀμήν.

You, Father of worlds, Father of ages, we praise together!
How much there is in the world, before the holy magistrate of heavenly light!
Let there be silence, let not the shining stars ...,
let flapping breezes, all the sources of roaring rivers, die down,
as we praise our Father and Son and Holy Spirit,
may all powers exclaim, “Amen, Amen!
Power, endless eternity, and glory to God,
sole giver of all good things!
Amen, Amen!”