Beginner's Guide to Transfiguration
By Emeric Switch
Table of Contents
Background of Modern Transfiguration
To Be or Not to Be?
The Do’s and Don’ts of Transfiguration
Chapter 1: Basics of Transfiguration
Chapter 2: Avifors
Chapter 3: Fallomeles
Chapter 4: Mutobuprestis
Chapter 5: Acusignis
Chapter 6: Muresarca
Chapter 7: Lepusfors
Chapter 8: Reparifarge
Chapter 9: Cochleafors
Chapter 10: Restituo
Chapter 11: Vera Verto
Chapter 12: Conclusion
Background of Modern Transfiguration
Transfiguration is one of the most noble and complex areas of magic. Many are unable to master past what school can teach them in this subject. Even the most elementary transfiguration spell needs complete concentration. A slight mistake may lead to dangerous and occasionally catastrophic results. This is just a word of warning before you decide to skip past the basics and jump into advanced spells: Don't. It is absolutely needed to understand the basics of any area of magic, or your attempts to proceed will be a path leading you to St. Mungo's.
First let's look at a history of transfiguration. Some wizards or witches were determined to create permanent transformations, which may have lead to the creation of four main areas of magical creatures.
The first is the most elementary area, and yet, the most sophisticated: Centaurs. The stunningly handsome race finds the theory of being derived from magical folk to be an insult. These mighty beasts, albeit superb in divination, are not a peaceful race. Half-man, half-equestrian, these creatures prefer not to affiliate with the wizarding type. They believe wizards are evil and looking for servants.
The second is the most beautiful area, the musical underwater race of the merepeople. They accept the theory that they are derived from wizards, for they have no evidence against it. They live here now and see no reason for challenging the idea.
The next group is the most simple-minded: Giants. Though this group seems stupid, they have more intelligence than they receive credit for. This seems reasonable though, for they usually always want to go to war for simple reasons.
The last group is the most questionable; the theory that they are derived from magical folk has almost been dropped. They will be mentioned anyway: Pixies. Known as fairies, pixies, gnomes, etc... They seem to have magical properties that would suggest they are not actually wizard/ witch based.
With the knowledge of some of the results of transfiguration, let's look towards a practical use. The famous story of Chris Emetwic (pronounced eh-meh-TWISS) tells of a young wizard who apparated in the state of confusion. He splinched himself and ended up on an island not too far from Norway. With the splinching of one leg, he knew his pain would keep him from safely apparating. This kind young man was wishing more than anything that he could reach the coast and get help, and miraculously, he granted himself wings. Before he realized that he had subconsciously used this spell, he was flying towards safety. He contacted the Ministry of Magic, and was sent to St. Mungo's where he made a full recovery. Because of this, he now works as a Rescue Wizard at the Ministry.
This just goes to show that Transfiguration is as useful as you want it to be. So arm yourself with knowledge, but don't skip the basics!
To Be or Not to Be?
That, my friends, is the beginning of a truism of one of the most basic, yet most essential, lessons that an aspiring witch or wizard MUST learn if one wishes to fully master the art of transfiguration.
Transfiguration itself is a wily and evasive magic art. Simple pointing and flapping your arms in the general direction of your intended target will simply not do the trick. Incantations are important, agreed, but not the underlying base that ties the magic of transfigurement together. To fully understand this revolutionary point (as I am sure that your young wizard minds have yet to grasp that incantations are only a part of your education here), attempt to complete the following exercise under your teacher's jurisdiction:
The Matchmaker
This exercise comprises the most basic of transfigurement magic that can be attempted in classes that follow the standard teaching practice accepted by the Ministry Board of Education. Materials needed:
1 match (1 1/2 inches in length at most for facility)
The goal is to transfigure this match into a needle. What comprises a successful transformation of the match into a standard needle:
-a definite point on a single end
-a definite silver color
-is around the length of the original match used
-thinness is around 1/5 to 1/4 of a centimeter
Incantation: Vicarus *insert object here
The above listed qualities can, of course, be tweaked and adapted under each Transfiguration teacher's jurisdiction. However, this description is what the MOE describes as the official successful transformation of the match and guarantees the most success when used, for example, in aiding the sewing market for the Muggles who we have last heard are in a deepening economic recession. Whatever that means.
Most ordinary wizarding first years will not be able to complete this exercise efficiently. Why? Because you have not mastered the focus necessary. Yes, I emphasis "you" because it is of the utmost importance that you understand the essence of yourself. It is only when one has understood oneself that one can even being to understand the essence of something else. In relation to the above exercise, you cannot simply proclaim "Vicarus Match" because there are ambiguously two meanings: Do you want the match to change into itself or do you want the match to change into something else? It is equivocal indeed and you cannot expect that the match itself will know what you mean. So there is the third aspect: understanding the essence of what you wish the object to transfigure into. In this case, what would the essence of the needle be? If you can hold the essence of the match, envision it instead with the essence of the needle, and gather enough of the inner focus and will to ensure that this change will come to fruition, you will be a successful witch or wizard in this art in no time.
The Do's and Don'ts of Transfiguration
Here we are now upon our second lesson - but alas, the chapter title lends no clue to the contents of this lesson. That is because, my young witches and wizards, there is more to learning that reading some hodge-podge old mess compiled in book form by supposed dumpy old pots. No, that is not the least of it. There are rules to be followed in any endeavor in life - take the popular Wizarding past time of Quidditch for example. Without rules, there would be utter chaos, as not a single player would know what to do and what not to do. Simply put, without rules there would be no Quidditch game. Parallel to this analogy, without some relatively simple guidelines there can be no Transfiguration. As previously stated in the last chapter, there is more to the art of Transfiguration that meets the eye - waving the wand, reciting incantations, focusing the mind - these are all minuscule matter when compared to keeping the learning environment safe and productive as well as setting yourself up for success in the future. I have put together a list of a sort for facility in reading. It would do well to memorize these for the future and trust me, it will be all worth the effort.
The Do’s:
-DO keep a good posture and a clear mind when reciting
-DO articulate incantations clearly and precisely
-DO focus all attention upon the task at hand
-DO listen to the additional instruction from your Transfiguration teacher
-DO read the lesson overview prior to beginning any related activities
The Don’ts:
-DO NOT wave the wand in excessive motion
-DO NOT skip ahead in the lesson plans or ignore your teacher’s instruction
-DO NOT attempt Transfiguration spells above your magical ability
-DO NOT attempt to transfigure anything that you are not told to transfigure
This last guideline would be the most important to all aspiring witches and wizards in the field of Transfiguration. If you could only memorize a single rule, this would be the one. Of course, strict adherence to the other guidelines is strongly recommended for obvious reasons. However, the underlying reasons for these rules are to not only ensure the safety of yourself but the safety of your fellow peers. There have been many cases in the past where young students have tried transfiguration magic far beyond their ability and even tried this upon their classmates. These types of things that may have started as simple tomfoolery in the end led to disastrous results that shall not be named in this book. In conclusion, it is to your benefit that these guidelines be followed, not mine or your teacher’s.
Focus
The key to transfiguration is focus. Focus is usually dismissed as a basic and often useless skill among the Wizarding society with little or no importance as it is one of the first thing mos wizards learn. If you have been reading carefully, you would have seen that the previous chapters have mentioned focus as it is the thing that determines whether or not you can transfigure and object.
For beginner wizards and witches, focus is probably the most vital yet difficult thing to master. It is applied not only in transfiguration but also in other subjects such as potions and divination. In the case of transfiguration, the amount of focus you are putting on an object determines whether or not you can completely transfigure the object. In this chapter, you will learn how to master the art of focusing on a particular object. The following instructions below will help enhance your ability to focus.
1. Clear your mind of all thoughts. (If you are having trouble, try closing your eyes.)
2. Once your mind has been cleared, breathe slowly in and out and open your eyes if they are closed.
3. Pick an object to focus on. (Choose a non-living object)
4. Fix your gaze on the object that you are wishing to transfigure.
5. Think of that object only and examine it to its most intricate details.
6. Repeat the procedure until all you can think of is the object which you are focusing on.
The set of instructions would have helped improve your focus and if you are lucky, it would have helped you master it. Remember that as a young wizard who is just starting transfiguration, staying on focus for a long period of time may be a challenge for you. However, if you continue to practice, you will soon achieve your goal.
Chapter 1
Basics of Transfiguration
Whenever a witch or wizard first begins their journey through the mysterious art of Transfiguration, it is best to understand what, exactly is transpiring when you perform it. Transfiguration, at its core, is a genre - if you will - of spell-casting. It has its own spells and it takes years to master. Most likely, a Transfiguration professor at any magical institution will start off with simple tests and spells, to demonstrate the fundamentals of Transfiguration because it is a form of magic that is foreign to many beginners of Transfiguration. The reason for this, as I stated earlier, is that Transfiguration requires years to master, possesses its own slew of spells, and requires perfect technique. With this book, I hope to guide you in that general direction of perfect Transfiguration.
How does Transfiguration work? With the right combination of concentration, spells, and wandwork, you will be able to transfigure anything into something else. But, looking deeper into the physical nature of Transfiguration, what is actually happening is a change of molecular structure. With proper form and spell, you are not simply changing one object to another temporarily. You are transfiguring its entire molecular structure into that of another. It is no wonder that Transfiguration takes many years to perfect!
Within Transfiguration, there are different branches of Transfiguration that should be addressed. There are currently four, listed from easiest branch of Transfiguration to the hardest: Transformation, Vanishment, Conjuration and Untransfiguration. While you may not practice all four while attending your first few years at a magical institution, it is still wise to understand the different branches of Transfiguration and their importance.
First we will discuss Transformation. Transformation, at the basics, is changing one object into another, either by deformation or alteration. This form of Transfiguration ranges from simple tasks, such as changing a match to a needle, to more complex forms, such as Petrification. Yet, within Transformation, there are still three more sub-categories. There is Human Transformation, where the target or end-result is a human being. This includes werewolves (sing. werewolf) and animagi (sing. animagus). As always, there are spells for this Transformation sub-category, and won't usually be learned until later in most magical institutions. Another Transformation sub-category is Switching, where one - quite literally - switches a single attribute from two different objects onto the other object simultaneously, such as switching the nose of an owl to that of a rat, and vice-versa. The change on the owl depends on the change on the rat, both occurring at the same time. Even within Switching, there is yet another sub-category, Cross-Species Switches, but this is beyond the scope of this book. Lastly, there is Trans-species Transformations, which also overlap into Switching and Cross-Species Switches. This form of Transformation either partially or completely changes a target into another species. This is very difficult magic and will be touched in later years.
Another category in Transfiguration is Vanishment. Like the name describes, this is the art of making objects vanish, or simply into non-being. This form of Transfiguration isn't learned until later years of a magical institution and is difficult. The difficulty is determined also by what is being vanished. It is well-known that invertebrates are easier to Vanish than vertebrates, due to the complexities that most vertebrates possess. Unlike Transformations and Conjurations, Vanishment only possesses one spell and is the only spell needed to perform Vanishment.
On that note, let us observe Conjuration. It is opposite from Vanishment, in that it brings things into being. This form of Transfiguration is also harder than its counter-part, mostly due to the concentration, spell-knowledge, and heavy wandwork required of the caster. Conjuration also has its limitations, as things that are conjured do not stay on this plane for long periods of time, no matter how well the caster performs the spell. There are also some laws set down by the Ministry of Magic as to the usage and limitation of Conjuration.
And, finally, there is the branch of Transfiguration called Untransfiguration. As its name details, it is the branch of Transfiguration focused on the reversal of Transfigurations on objects and targets. It is the most difficult branch of Transfiguration, learned by Transfigurists later in their school careers. All professors in Transfiguration know Untransfiguration as a requirement, especially when helping beginners undo their mistakes.
Transfiguration, in general, is a difficult discipline to master. It is systematic and very exact; one wrong move or spell incantation and the Transfiguration can go horribly wrong. There is little to no margin of error allowed in Transfiguration. So, there are a few things to keep in mind when attempting to transfigurate something. First, there is the intended transformation (t). It is directly influenced by bodyweight (a), viciousness (v), wand power (w), concentration (c) and spell incantation (Z), as described in formula 1 at the back of the book.
If anyone of these factors are off, the Transfiguration will fail.
The levels of each variable are as follows:
t= end result. Most Transfiguration spell difficulties range from basic, somewhat basic, intermediate, somewhat difficult, difficult, expert
a= caster must be heavier than the object being transformed
v= mild, medium-mild, medium, medium-strong, strong, extreme
w= any, medium, strong
c= fair, moderate, complete
Z= well-spoken, perfectly-spoken - and - as clear as possible, completely clear
The limitations of Transfiguration are many, but are separated by Nature and Law. Nature Limitations are limitations that attempt to keep Transfiguration from defying nature or the rules of nature. For example, one cannot revive the dead (no matter how recently deceased) with Transfiguration, the object's size and mass must be taken into account (the larger the object, the more difficult to transfigure), an animagus form is limited to one animal form, one cannot conjure food, and, by will of nature, things that are conjured do not last. Law Limitations are limitations set down by the Ministry of Magic or other form of Wizarding Government to keep the over-use and empowerment of Transfiguration to a minimum through surveillance. This includes registration of animagi to Ministry of Magic, being watched by a Transfigurist while learning to become an animagus, and other laws beyond the scope of this book.
The dangers of Transfiguration can be very small, to very large. You might accidentally only half-Transfigure something or cause it to be permanently stuck in one state. This is why it is important to focus while in Transfiguration and to not take the class lightly. While the dangers are there, Transfiguration can be a rewarding experience, and I am proud to show you the many secrets on the matter and to help guide you through this wonderful art.
Chapter 2
Avifors
This chapter will look closely at the Transfiguration spell Avifors.
The word is derived from Latin, avis meaning "bird", and fors (a suffix often used in transfiguration spells) for "chance, luck, fortune". It is the incantation used and is pronounced AVI-forz.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform objects into either a single bird or a flock of birds, depending on the desired outcome of the caster. It should not be confused with the Conjuration, Avis, which shoots birds from the wand tip and is more of a charm.
The spell itself is a vibrant blue color, and it is found that most starting Transfigurists can only transform objects into birds of the same blue color. As with more practice, however, the caster can will the color of the bird to be anything that they wish, and include patterns, such as plaid or checkered.
The level of this Transfiguration is basic.
t= Transformation of an object into a bird
a= caster must be heavier than the object being transformed
v= intent must be at least mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 3
Fallomeles
This chapter will look closely at the Transfiguration spell of Fallomeles, also known informally as Badgering.
The word is derived from Latin, fallo meaning to "deceive, cheat, or trick", and meles meaning "badger". It is the incantation used in Badgering, and is pronounced fall-o-mell-s.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform objects into a badger. Badgering is the action to transform objects into badgers. It is rumored that the spell was invented by Helga Hufflepuff, but there is no clear evidence of such a claim.
The spell itself does not cast any light or noise, but transforms any object pointed at with the caster's wand into a badger.
The level of this Transfiguration is somewhat basic.
t= Transformation of an object into a badger
a= caster must be heavier than the object being transformed
v= intent must be at least medium-mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 4
Mutobuprestis
This chapter will look closely at the Transfiguration spell of Mutobuprestis, also known informally as Beetle Buttons. There is also another form of this spell, ‘botonus’, however, they have the same end result.
The word is derived from Latin, muto meaning to "change, alter, or transform", and buprestis meaning "beetle". It is the incantation used in Beetle Buttons, and is pronounced mute-o-boo-press-tis.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform beetles into buttons. Beetle Buttons are buttons that were once beetles, but have undergone Transfiguration to become buttons. Many famous lines of wizard clothing use Beetle Buttons because they are cheap to come by.
The spell itself does not cast any light or noise, but strictly transforms beetles pointed at with the caster's wand into a button.
The level of this Transfiguration is somewhat basic.
t= Transformation of an beetle into a button
a= caster must be heavier than the beetle
v= intent must be at least medium-mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 5
Acusignis
This chapter will look closely at the Transfiguration spell of Acusignis, also known informally as Match to Needle.
The word is derived from Latin, acus meaning "needle", and ignus meaning "torch". It is the incantation used in Match to Needle exercises, and is pronounced aku-sig-nis.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a match into a needle. This is one of the most basic Transfiguration spells and is commonly practiced in all beginner Transfiguration classes.
The spell itself does not cast any light or noise, but strictly transforms a match pointed at with the caster's wand into a needle.
The level of this Transfiguration is basic.
t= Transformation of a match into a needle
a= caster must be heavier than the match
v= intent must be at least mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 6
Muresarca
This chapter will look closely at the Transfiguration spell of Muresarca, also known informally as Mice to Snuffboxes.
The word is derived from Latin, mures meaning "mice", and arca meaning "box". It is the incantation used in Mice to Snuffboxes exercises, and is pronounced murs-arc-ah.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a mouse into a snuffbox. This is one of the most basic Transfiguration spells and is commonly practiced in all beginner Transfiguration classes.
The spell is a light blue, and lingers on the object for a moment after the transformation. It strictly transforms a mouse pointed at with the caster's wand into a snuffbox.
The level of this Transfiguration is basic.
t= Transformation of a mouse into a snuffbox
a= caster must be heavier than the mouse
v= intent must be at least mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 7
Lepusfors
This chapter will look closely at the Transfiguration spell of Lepusfors, also known informally as Rabbit Slippers.
The word is derived from Latin, lepus meaning "rabbit", and fors (a suffix often used in transfiguration spells) for "chance, luck, fortune". It is the incantation used in Rabbit Slippers exercises, and is pronounced lep-us-forz.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a pair of white rabbits into rabbit slippers. This is a more difficult spell due to the number of objects that need to be Transfigured.
The spell itself does not cast any light or noise, but strictly transforms a pair of white rabbits into a pair of rabbit slippers. The wand movement necessary is a twirl over the white rabbits while saying the incantation.
The level of this Transfiguration is somewhat basic.
t= Transformation of a pair of white rabbits into a pair of rabbit slippers
a= caster must be heavier than the two white rabbits combined
v= intent must be at least medium-mild
w= any wand power
c= moderate
Z= well-spoken, as clear as possible
Chapter 8
Reparifarge
This chapter will look closely at the Transfiguration spell of Reparifarge. Incomplete Transfigurations are difficult to put right, but you must attempt to do so. Leaving the head of a rabbit on a footstool is irresponsible and dangerous. Say 'Reparifarge!' and the object or creature should return to its natural state.
The word is derived from Latin, repari meaning "rehab", and farge for "color". It is the incantation used when undoing mistakes in any Transfiguration attempt, and is pronounced re-par-ee-far-je.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a mistake back to its original, untransformed self. It is also a spell that stretches into the branch of Untransfiguration, and is basic in the Untransfiguration branch and should be used as soon as a mistake is made.
The spell itself does not cast any light or noise, but reverses any Transfiguration mistake made and returns it to normal. This is done by pointing at it with the caster's wand.
The level of this Transfiguration is somewhat basic.
t= Fixes Transfiguration mistakes
a= caster must be heavier than the object
v= intent must be at least medium-mild
w= any wand power
c= moderate
Z= well-spoken, as clear as possible
Chapter 9
Cochleafors
This chapter will look closely at the Transfiguration spell of Cochleafors, also known informally as Snail to Teapot.
The word is derived from Latin, cochlea meaning "snail", and fors (a suffix often used in transfiguration spells) for "chance, luck, fortune". It is the incantation used in Snail to Teapot exercises, and is pronounced co-k-lee-a-forz.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a snail into a teapot. This is one of the most basic Transfiguration spells and is commonly practiced in all beginner Transfiguration classes.
The spell itself does not cast any light or noise, but strictly transforms a snail into a teapot. The wand movement necessary is to wave the wand thrice and speak the incantation.
There is a diagram on how the Transformation process should look at the back of the book (diagram 1).
The level of this Transfiguration is basic.
t= Transformation of a snail into a teapot
a= caster must be heavier than the snail
v= intent must be at least mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 10
Restituo
This chapter will look closely at the Transfiguration spell of Restituo, also known as a Switching Spell.
The word is derived from Latin, restituo meaning "to restore". It is the incantation used in Switching Spell exercises, and is pronounced rest-eh-to-oh.
Looking back at our categories in Chapter 1, this spell falls under the Switching Transfiguration branch. It is used to switch an object with another. This is one of the most basic Transfiguration Switching spells and is commonly practiced in all beginner Transfiguration classes.
The spell itself does not cast any light or noise. The wand movement necessary is to wave the wand in pattern 1 at the back of the book.
The level of this Transfiguration is basic.
t= Switching two objects
a= caster must be heavier than both objects combined
v= intent must be at least medium-mild
w= any wand power
c= moderate
Z= well-spoken, as clear as possible
Chapter 11
Vera Verto
This chapter will look closely at the Transfiguration spell of Vera Verto. It is also known as Fera Verto.
The word is derived from Latin, vera, meaning "true" or "right", and verto, meaning "I turn" or "I change". It is the incantation used to change animals into water goblets, and is pronounced vair-uh-VAIR-toh.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform animals into water goblets.
The spell itself does not cast any light or noise, and the wand must tap thrice on the animal and then point to it as the incantation is being said.
The level of this Transfiguration is somewhat basic.
t= Transformation of an animal into a water goblet
a= caster must be heavier than the animal
v= intent must be at least medium-mild
w= any wand power
c= moderate
Z= well-spoken, as clear as possible
Chapter 12
Conclusion
There are many things about Transfiguration that still are unknown to the wizarding world. Questions still linger and many things are simply taken for granted. This book, I hope, encourages you to continue in the field of Transfiguration to help discover the answers to these endless questions.
While this is an introductory book into the subject matter of Transfiguration, many witches and wizards will find themselves wondering whether Transfiguration is right for them. Every witch and wizard can excel in Transfiguration with practice and precision. To get to the point of expert Transfigurist is prestigious among the Wizarding Community, and is a rare title to hold, indeed. I hope this book encourages you to consider the path of Transfigurist and I also hope that it helped you grasp a better understanding of the ideology behind Transfiguration. It is an art that is still shrouded in mystery.
I implore you to purchase my next book, Intermediate Transfiguration, which offers a plethora of higher level spells than the ones covered in this book. Continue on the path of discovery, dear reader, and good luck in everything you do.
Chapter Thirteen
Gamp’s Law of Elemental Transfiguration.
The five exceptions to transfiguration are understood as follows:
1) Food : One cannot conjure food out of thin air. Food must be found or had, then perhaps you can enlarge the food you have or charm it to taste better. Also, non-edible items cannot be made edible by transfiguration means.
2) Creating Humans : One cannot turn an inanimate object into a human being. Dark magic can, however, cause a human to be produced from a beast, but inanimate objects cannot be turned into living, breathing humans.
3) Permanence : All transfiguration magic will fade with time. No magic can truly last forever. It is common knowledge that all lingering spells shall be finite when the creator of said spells perishes. Death releases all magic.
4) Love : Love cannot be produced in the form of making oneself more attractive. Attractiveness does help in the field of human chemistry, but overall, love is a predetermined state of attraction that magic cannot produce.
5) Money : Galleons, Sickles, and Knuts cannot be produced by transfiguration means. Magical banks, buildings, and places of commerce have complex magic that dispels any such means of thievery.
Chapter Fourteen
Basic Transfiguration
1) Arianat
Arianat is a useful little transfiguration spell.
It transfixes a spider into a glove for an undetermined period of time.
The wand movement is a sharp jab.
Concentration should be moderate to relaxed.
2) Moulage
Moulage morphs metal into a liquid.
The liquid is burning hot and deadly to the touch.
If performed correctly, the trail of liquid can be controlled.
The wand movement is a sweeping up-to-down swipe.
3) Draconifors
Draconifors transfigures a small dragon statue into a small dragon.
The dragon created is limited in power, but still dangerous.
This useful little spell is often performed in Hogwarts (See Foreword).
Wand movement should be a jab towards the statue.
Concentration should be determined mind frame.
4) Induvia
This beginning practice spell transfigures a beetle into a button.
The button should not have any legs, nor eyes.
The color, shape, and size of the button is determined by caster.
Wand movement is a jab.
5) Folium Vesica
This spell transfigures a leaf into a blade.
The blade, if spell done correctly, should be sharp and silver.
The hilt should have a leafy design.
Wand movement is undetermined.
6) Astrayo Oh Nu Prolixus
This incantation transfixes a dragonfly into a broach to be worn.
The broach should resemble a glistening, jeweled dragonfly.
The broach should not move if done correctly.
The color can be changed if caster is advanced enough.
Wand movement is a swirling motion while saying the lengthy incantation.
7) Vera Verto
Vera Verto Tranfigures a small rat into a cup.
The cup should not be furry, have a tail, or squeek.
I would advice not to drink the cup at first.
Wand movement is to tap the rat three times then swirl your wand.
Then release the incantation.
8) Diripeo
This incantation transfigures a pillow into a vase.
The pillow cannot be a feather-filled variety.
The feathers destroy the magic flow in this spell.
Cotton, wool, or a synthetic variety is encouraged.
9) Animadverto
Animadverto transfixes a bird into a telescope.
The spell only lasts for ten minutes at the most.
Wand movement is twenty sharp taps to the bird's stomach area.
10) Vestis Vestio
Vestis Vestio transfigures a blanket into a beautiful flowing dress.
Unfortunately, midnight and noon negates the spell.
This means, at midnight (or noon) the spell will fade. [See Cinderella]
The dress must be visualized thoroughly before the spell is cast.
Lay the blanket down, move your wand move the entire length.
Then mutter "Vestis Vestio".
11) Professio
Professio is the art charm spell.
This spell allows a normal picture, photo, or painting to move.
All moving portraits are charmed with this spell.
The wand movement is a poke in the art piece's focus (See Art book).
12) Aguano
Aguano transfixes gold into silver.
The incantation itself lasts several days,
but Gamp's law states money does not affect with this.
Only items of non-monetary value are succumbing to this charm.
13) Flamma Congelo Lepar
This is the flame freezing charm.
The caster should send their wand to the heart of the flame.
They should then say the incantation.
The flames will then freeze as long as the caster stays focused.
Floo Transportation is known to inhibit freezing charm tendencies.
Chapter Fifteen
Self-Transfiguration
1)Sommes Constructum
Sommes Constructum is the body-building transfiguration spell.
One needs to fully imagine their new body, emit the incantation.
The magic will only lasts for one hour at the most.
Your body can morph to anything human while the spell is used.
2) Saeta
This charm changes the color of your hair.
Used in transfiguration education classes,
the charm has many practical uses.
The caster must visualize the color and send wand to hair.
3) Tergum
Tergum transfixes one's skin color.
Any colored skin can be achieved, even green or blue.
4) Animagus
Animagi are wizards and witches that can change into animals.
Highly advanced magic, only adult wizards can perform this.
So few wizards/witches can use this magic, that only ten are allowed a century.
The patronus charm usually reveals what animal one will take in animagus.
Animagus transformations can be reversed by the counter charm "Exbestia".
Table of Contents
Background of Modern Transfiguration
To Be or Not to Be?
The Do’s and Don’ts of Transfiguration
Chapter 1: Basics of Transfiguration
Chapter 2: Avifors
Chapter 3: Fallomeles
Chapter 4: Mutobuprestis
Chapter 5: Acusignis
Chapter 6: Muresarca
Chapter 7: Lepusfors
Chapter 8: Reparifarge
Chapter 9: Cochleafors
Chapter 10: Restituo
Chapter 11: Vera Verto
Chapter 12: Conclusion
Background of Modern Transfiguration
Transfiguration is one of the most noble and complex areas of magic. Many are unable to master past what school can teach them in this subject. Even the most elementary transfiguration spell needs complete concentration. A slight mistake may lead to dangerous and occasionally catastrophic results. This is just a word of warning before you decide to skip past the basics and jump into advanced spells: Don't. It is absolutely needed to understand the basics of any area of magic, or your attempts to proceed will be a path leading you to St. Mungo's.
First let's look at a history of transfiguration. Some wizards or witches were determined to create permanent transformations, which may have lead to the creation of four main areas of magical creatures.
The first is the most elementary area, and yet, the most sophisticated: Centaurs. The stunningly handsome race finds the theory of being derived from magical folk to be an insult. These mighty beasts, albeit superb in divination, are not a peaceful race. Half-man, half-equestrian, these creatures prefer not to affiliate with the wizarding type. They believe wizards are evil and looking for servants.
The second is the most beautiful area, the musical underwater race of the merepeople. They accept the theory that they are derived from wizards, for they have no evidence against it. They live here now and see no reason for challenging the idea.
The next group is the most simple-minded: Giants. Though this group seems stupid, they have more intelligence than they receive credit for. This seems reasonable though, for they usually always want to go to war for simple reasons.
The last group is the most questionable; the theory that they are derived from magical folk has almost been dropped. They will be mentioned anyway: Pixies. Known as fairies, pixies, gnomes, etc... They seem to have magical properties that would suggest they are not actually wizard/ witch based.
With the knowledge of some of the results of transfiguration, let's look towards a practical use. The famous story of Chris Emetwic (pronounced eh-meh-TWISS) tells of a young wizard who apparated in the state of confusion. He splinched himself and ended up on an island not too far from Norway. With the splinching of one leg, he knew his pain would keep him from safely apparating. This kind young man was wishing more than anything that he could reach the coast and get help, and miraculously, he granted himself wings. Before he realized that he had subconsciously used this spell, he was flying towards safety. He contacted the Ministry of Magic, and was sent to St. Mungo's where he made a full recovery. Because of this, he now works as a Rescue Wizard at the Ministry.
This just goes to show that Transfiguration is as useful as you want it to be. So arm yourself with knowledge, but don't skip the basics!
To Be or Not to Be?
That, my friends, is the beginning of a truism of one of the most basic, yet most essential, lessons that an aspiring witch or wizard MUST learn if one wishes to fully master the art of transfiguration.
Transfiguration itself is a wily and evasive magic art. Simple pointing and flapping your arms in the general direction of your intended target will simply not do the trick. Incantations are important, agreed, but not the underlying base that ties the magic of transfigurement together. To fully understand this revolutionary point (as I am sure that your young wizard minds have yet to grasp that incantations are only a part of your education here), attempt to complete the following exercise under your teacher's jurisdiction:
The Matchmaker
This exercise comprises the most basic of transfigurement magic that can be attempted in classes that follow the standard teaching practice accepted by the Ministry Board of Education. Materials needed:
1 match (1 1/2 inches in length at most for facility)
The goal is to transfigure this match into a needle. What comprises a successful transformation of the match into a standard needle:
-a definite point on a single end
-a definite silver color
-is around the length of the original match used
-thinness is around 1/5 to 1/4 of a centimeter
Incantation: Vicarus *insert object here
The above listed qualities can, of course, be tweaked and adapted under each Transfiguration teacher's jurisdiction. However, this description is what the MOE describes as the official successful transformation of the match and guarantees the most success when used, for example, in aiding the sewing market for the Muggles who we have last heard are in a deepening economic recession. Whatever that means.
Most ordinary wizarding first years will not be able to complete this exercise efficiently. Why? Because you have not mastered the focus necessary. Yes, I emphasis "you" because it is of the utmost importance that you understand the essence of yourself. It is only when one has understood oneself that one can even being to understand the essence of something else. In relation to the above exercise, you cannot simply proclaim "Vicarus Match" because there are ambiguously two meanings: Do you want the match to change into itself or do you want the match to change into something else? It is equivocal indeed and you cannot expect that the match itself will know what you mean. So there is the third aspect: understanding the essence of what you wish the object to transfigure into. In this case, what would the essence of the needle be? If you can hold the essence of the match, envision it instead with the essence of the needle, and gather enough of the inner focus and will to ensure that this change will come to fruition, you will be a successful witch or wizard in this art in no time.
The Do's and Don'ts of Transfiguration
Here we are now upon our second lesson - but alas, the chapter title lends no clue to the contents of this lesson. That is because, my young witches and wizards, there is more to learning that reading some hodge-podge old mess compiled in book form by supposed dumpy old pots. No, that is not the least of it. There are rules to be followed in any endeavor in life - take the popular Wizarding past time of Quidditch for example. Without rules, there would be utter chaos, as not a single player would know what to do and what not to do. Simply put, without rules there would be no Quidditch game. Parallel to this analogy, without some relatively simple guidelines there can be no Transfiguration. As previously stated in the last chapter, there is more to the art of Transfiguration that meets the eye - waving the wand, reciting incantations, focusing the mind - these are all minuscule matter when compared to keeping the learning environment safe and productive as well as setting yourself up for success in the future. I have put together a list of a sort for facility in reading. It would do well to memorize these for the future and trust me, it will be all worth the effort.
The Do’s:
-DO keep a good posture and a clear mind when reciting
-DO articulate incantations clearly and precisely
-DO focus all attention upon the task at hand
-DO listen to the additional instruction from your Transfiguration teacher
-DO read the lesson overview prior to beginning any related activities
The Don’ts:
-DO NOT wave the wand in excessive motion
-DO NOT skip ahead in the lesson plans or ignore your teacher’s instruction
-DO NOT attempt Transfiguration spells above your magical ability
-DO NOT attempt to transfigure anything that you are not told to transfigure
This last guideline would be the most important to all aspiring witches and wizards in the field of Transfiguration. If you could only memorize a single rule, this would be the one. Of course, strict adherence to the other guidelines is strongly recommended for obvious reasons. However, the underlying reasons for these rules are to not only ensure the safety of yourself but the safety of your fellow peers. There have been many cases in the past where young students have tried transfiguration magic far beyond their ability and even tried this upon their classmates. These types of things that may have started as simple tomfoolery in the end led to disastrous results that shall not be named in this book. In conclusion, it is to your benefit that these guidelines be followed, not mine or your teacher’s.
Focus
The key to transfiguration is focus. Focus is usually dismissed as a basic and often useless skill among the Wizarding society with little or no importance as it is one of the first thing mos wizards learn. If you have been reading carefully, you would have seen that the previous chapters have mentioned focus as it is the thing that determines whether or not you can transfigure and object.
For beginner wizards and witches, focus is probably the most vital yet difficult thing to master. It is applied not only in transfiguration but also in other subjects such as potions and divination. In the case of transfiguration, the amount of focus you are putting on an object determines whether or not you can completely transfigure the object. In this chapter, you will learn how to master the art of focusing on a particular object. The following instructions below will help enhance your ability to focus.
1. Clear your mind of all thoughts. (If you are having trouble, try closing your eyes.)
2. Once your mind has been cleared, breathe slowly in and out and open your eyes if they are closed.
3. Pick an object to focus on. (Choose a non-living object)
4. Fix your gaze on the object that you are wishing to transfigure.
5. Think of that object only and examine it to its most intricate details.
6. Repeat the procedure until all you can think of is the object which you are focusing on.
The set of instructions would have helped improve your focus and if you are lucky, it would have helped you master it. Remember that as a young wizard who is just starting transfiguration, staying on focus for a long period of time may be a challenge for you. However, if you continue to practice, you will soon achieve your goal.
Chapter 1
Basics of Transfiguration
Whenever a witch or wizard first begins their journey through the mysterious art of Transfiguration, it is best to understand what, exactly is transpiring when you perform it. Transfiguration, at its core, is a genre - if you will - of spell-casting. It has its own spells and it takes years to master. Most likely, a Transfiguration professor at any magical institution will start off with simple tests and spells, to demonstrate the fundamentals of Transfiguration because it is a form of magic that is foreign to many beginners of Transfiguration. The reason for this, as I stated earlier, is that Transfiguration requires years to master, possesses its own slew of spells, and requires perfect technique. With this book, I hope to guide you in that general direction of perfect Transfiguration.
How does Transfiguration work? With the right combination of concentration, spells, and wandwork, you will be able to transfigure anything into something else. But, looking deeper into the physical nature of Transfiguration, what is actually happening is a change of molecular structure. With proper form and spell, you are not simply changing one object to another temporarily. You are transfiguring its entire molecular structure into that of another. It is no wonder that Transfiguration takes many years to perfect!
Within Transfiguration, there are different branches of Transfiguration that should be addressed. There are currently four, listed from easiest branch of Transfiguration to the hardest: Transformation, Vanishment, Conjuration and Untransfiguration. While you may not practice all four while attending your first few years at a magical institution, it is still wise to understand the different branches of Transfiguration and their importance.
First we will discuss Transformation. Transformation, at the basics, is changing one object into another, either by deformation or alteration. This form of Transfiguration ranges from simple tasks, such as changing a match to a needle, to more complex forms, such as Petrification. Yet, within Transformation, there are still three more sub-categories. There is Human Transformation, where the target or end-result is a human being. This includes werewolves (sing. werewolf) and animagi (sing. animagus). As always, there are spells for this Transformation sub-category, and won't usually be learned until later in most magical institutions. Another Transformation sub-category is Switching, where one - quite literally - switches a single attribute from two different objects onto the other object simultaneously, such as switching the nose of an owl to that of a rat, and vice-versa. The change on the owl depends on the change on the rat, both occurring at the same time. Even within Switching, there is yet another sub-category, Cross-Species Switches, but this is beyond the scope of this book. Lastly, there is Trans-species Transformations, which also overlap into Switching and Cross-Species Switches. This form of Transformation either partially or completely changes a target into another species. This is very difficult magic and will be touched in later years.
Another category in Transfiguration is Vanishment. Like the name describes, this is the art of making objects vanish, or simply into non-being. This form of Transfiguration isn't learned until later years of a magical institution and is difficult. The difficulty is determined also by what is being vanished. It is well-known that invertebrates are easier to Vanish than vertebrates, due to the complexities that most vertebrates possess. Unlike Transformations and Conjurations, Vanishment only possesses one spell and is the only spell needed to perform Vanishment.
On that note, let us observe Conjuration. It is opposite from Vanishment, in that it brings things into being. This form of Transfiguration is also harder than its counter-part, mostly due to the concentration, spell-knowledge, and heavy wandwork required of the caster. Conjuration also has its limitations, as things that are conjured do not stay on this plane for long periods of time, no matter how well the caster performs the spell. There are also some laws set down by the Ministry of Magic as to the usage and limitation of Conjuration.
And, finally, there is the branch of Transfiguration called Untransfiguration. As its name details, it is the branch of Transfiguration focused on the reversal of Transfigurations on objects and targets. It is the most difficult branch of Transfiguration, learned by Transfigurists later in their school careers. All professors in Transfiguration know Untransfiguration as a requirement, especially when helping beginners undo their mistakes.
Transfiguration, in general, is a difficult discipline to master. It is systematic and very exact; one wrong move or spell incantation and the Transfiguration can go horribly wrong. There is little to no margin of error allowed in Transfiguration. So, there are a few things to keep in mind when attempting to transfigurate something. First, there is the intended transformation (t). It is directly influenced by bodyweight (a), viciousness (v), wand power (w), concentration (c) and spell incantation (Z), as described in formula 1 at the back of the book.
If anyone of these factors are off, the Transfiguration will fail.
The levels of each variable are as follows:
t= end result. Most Transfiguration spell difficulties range from basic, somewhat basic, intermediate, somewhat difficult, difficult, expert
a= caster must be heavier than the object being transformed
v= mild, medium-mild, medium, medium-strong, strong, extreme
w= any, medium, strong
c= fair, moderate, complete
Z= well-spoken, perfectly-spoken - and - as clear as possible, completely clear
The limitations of Transfiguration are many, but are separated by Nature and Law. Nature Limitations are limitations that attempt to keep Transfiguration from defying nature or the rules of nature. For example, one cannot revive the dead (no matter how recently deceased) with Transfiguration, the object's size and mass must be taken into account (the larger the object, the more difficult to transfigure), an animagus form is limited to one animal form, one cannot conjure food, and, by will of nature, things that are conjured do not last. Law Limitations are limitations set down by the Ministry of Magic or other form of Wizarding Government to keep the over-use and empowerment of Transfiguration to a minimum through surveillance. This includes registration of animagi to Ministry of Magic, being watched by a Transfigurist while learning to become an animagus, and other laws beyond the scope of this book.
The dangers of Transfiguration can be very small, to very large. You might accidentally only half-Transfigure something or cause it to be permanently stuck in one state. This is why it is important to focus while in Transfiguration and to not take the class lightly. While the dangers are there, Transfiguration can be a rewarding experience, and I am proud to show you the many secrets on the matter and to help guide you through this wonderful art.
Chapter 2
Avifors
This chapter will look closely at the Transfiguration spell Avifors.
The word is derived from Latin, avis meaning "bird", and fors (a suffix often used in transfiguration spells) for "chance, luck, fortune". It is the incantation used and is pronounced AVI-forz.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform objects into either a single bird or a flock of birds, depending on the desired outcome of the caster. It should not be confused with the Conjuration, Avis, which shoots birds from the wand tip and is more of a charm.
The spell itself is a vibrant blue color, and it is found that most starting Transfigurists can only transform objects into birds of the same blue color. As with more practice, however, the caster can will the color of the bird to be anything that they wish, and include patterns, such as plaid or checkered.
The level of this Transfiguration is basic.
t= Transformation of an object into a bird
a= caster must be heavier than the object being transformed
v= intent must be at least mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 3
Fallomeles
This chapter will look closely at the Transfiguration spell of Fallomeles, also known informally as Badgering.
The word is derived from Latin, fallo meaning to "deceive, cheat, or trick", and meles meaning "badger". It is the incantation used in Badgering, and is pronounced fall-o-mell-s.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform objects into a badger. Badgering is the action to transform objects into badgers. It is rumored that the spell was invented by Helga Hufflepuff, but there is no clear evidence of such a claim.
The spell itself does not cast any light or noise, but transforms any object pointed at with the caster's wand into a badger.
The level of this Transfiguration is somewhat basic.
t= Transformation of an object into a badger
a= caster must be heavier than the object being transformed
v= intent must be at least medium-mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 4
Mutobuprestis
This chapter will look closely at the Transfiguration spell of Mutobuprestis, also known informally as Beetle Buttons. There is also another form of this spell, ‘botonus’, however, they have the same end result.
The word is derived from Latin, muto meaning to "change, alter, or transform", and buprestis meaning "beetle". It is the incantation used in Beetle Buttons, and is pronounced mute-o-boo-press-tis.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform beetles into buttons. Beetle Buttons are buttons that were once beetles, but have undergone Transfiguration to become buttons. Many famous lines of wizard clothing use Beetle Buttons because they are cheap to come by.
The spell itself does not cast any light or noise, but strictly transforms beetles pointed at with the caster's wand into a button.
The level of this Transfiguration is somewhat basic.
t= Transformation of an beetle into a button
a= caster must be heavier than the beetle
v= intent must be at least medium-mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 5
Acusignis
This chapter will look closely at the Transfiguration spell of Acusignis, also known informally as Match to Needle.
The word is derived from Latin, acus meaning "needle", and ignus meaning "torch". It is the incantation used in Match to Needle exercises, and is pronounced aku-sig-nis.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a match into a needle. This is one of the most basic Transfiguration spells and is commonly practiced in all beginner Transfiguration classes.
The spell itself does not cast any light or noise, but strictly transforms a match pointed at with the caster's wand into a needle.
The level of this Transfiguration is basic.
t= Transformation of a match into a needle
a= caster must be heavier than the match
v= intent must be at least mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 6
Muresarca
This chapter will look closely at the Transfiguration spell of Muresarca, also known informally as Mice to Snuffboxes.
The word is derived from Latin, mures meaning "mice", and arca meaning "box". It is the incantation used in Mice to Snuffboxes exercises, and is pronounced murs-arc-ah.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a mouse into a snuffbox. This is one of the most basic Transfiguration spells and is commonly practiced in all beginner Transfiguration classes.
The spell is a light blue, and lingers on the object for a moment after the transformation. It strictly transforms a mouse pointed at with the caster's wand into a snuffbox.
The level of this Transfiguration is basic.
t= Transformation of a mouse into a snuffbox
a= caster must be heavier than the mouse
v= intent must be at least mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 7
Lepusfors
This chapter will look closely at the Transfiguration spell of Lepusfors, also known informally as Rabbit Slippers.
The word is derived from Latin, lepus meaning "rabbit", and fors (a suffix often used in transfiguration spells) for "chance, luck, fortune". It is the incantation used in Rabbit Slippers exercises, and is pronounced lep-us-forz.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a pair of white rabbits into rabbit slippers. This is a more difficult spell due to the number of objects that need to be Transfigured.
The spell itself does not cast any light or noise, but strictly transforms a pair of white rabbits into a pair of rabbit slippers. The wand movement necessary is a twirl over the white rabbits while saying the incantation.
The level of this Transfiguration is somewhat basic.
t= Transformation of a pair of white rabbits into a pair of rabbit slippers
a= caster must be heavier than the two white rabbits combined
v= intent must be at least medium-mild
w= any wand power
c= moderate
Z= well-spoken, as clear as possible
Chapter 8
Reparifarge
This chapter will look closely at the Transfiguration spell of Reparifarge. Incomplete Transfigurations are difficult to put right, but you must attempt to do so. Leaving the head of a rabbit on a footstool is irresponsible and dangerous. Say 'Reparifarge!' and the object or creature should return to its natural state.
The word is derived from Latin, repari meaning "rehab", and farge for "color". It is the incantation used when undoing mistakes in any Transfiguration attempt, and is pronounced re-par-ee-far-je.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a mistake back to its original, untransformed self. It is also a spell that stretches into the branch of Untransfiguration, and is basic in the Untransfiguration branch and should be used as soon as a mistake is made.
The spell itself does not cast any light or noise, but reverses any Transfiguration mistake made and returns it to normal. This is done by pointing at it with the caster's wand.
The level of this Transfiguration is somewhat basic.
t= Fixes Transfiguration mistakes
a= caster must be heavier than the object
v= intent must be at least medium-mild
w= any wand power
c= moderate
Z= well-spoken, as clear as possible
Chapter 9
Cochleafors
This chapter will look closely at the Transfiguration spell of Cochleafors, also known informally as Snail to Teapot.
The word is derived from Latin, cochlea meaning "snail", and fors (a suffix often used in transfiguration spells) for "chance, luck, fortune". It is the incantation used in Snail to Teapot exercises, and is pronounced co-k-lee-a-forz.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform a snail into a teapot. This is one of the most basic Transfiguration spells and is commonly practiced in all beginner Transfiguration classes.
The spell itself does not cast any light or noise, but strictly transforms a snail into a teapot. The wand movement necessary is to wave the wand thrice and speak the incantation.
There is a diagram on how the Transformation process should look at the back of the book (diagram 1).
The level of this Transfiguration is basic.
t= Transformation of a snail into a teapot
a= caster must be heavier than the snail
v= intent must be at least mild
w= any wand power
c= fair
Z= well-spoken, as clear as possible
Chapter 10
Restituo
This chapter will look closely at the Transfiguration spell of Restituo, also known as a Switching Spell.
The word is derived from Latin, restituo meaning "to restore". It is the incantation used in Switching Spell exercises, and is pronounced rest-eh-to-oh.
Looking back at our categories in Chapter 1, this spell falls under the Switching Transfiguration branch. It is used to switch an object with another. This is one of the most basic Transfiguration Switching spells and is commonly practiced in all beginner Transfiguration classes.
The spell itself does not cast any light or noise. The wand movement necessary is to wave the wand in pattern 1 at the back of the book.
The level of this Transfiguration is basic.
t= Switching two objects
a= caster must be heavier than both objects combined
v= intent must be at least medium-mild
w= any wand power
c= moderate
Z= well-spoken, as clear as possible
Chapter 11
Vera Verto
This chapter will look closely at the Transfiguration spell of Vera Verto. It is also known as Fera Verto.
The word is derived from Latin, vera, meaning "true" or "right", and verto, meaning "I turn" or "I change". It is the incantation used to change animals into water goblets, and is pronounced vair-uh-VAIR-toh.
Looking back at our categories in Chapter 1, this spell falls under the Transformation Transfiguration branch. It is used to transform animals into water goblets.
The spell itself does not cast any light or noise, and the wand must tap thrice on the animal and then point to it as the incantation is being said.
The level of this Transfiguration is somewhat basic.
t= Transformation of an animal into a water goblet
a= caster must be heavier than the animal
v= intent must be at least medium-mild
w= any wand power
c= moderate
Z= well-spoken, as clear as possible
Chapter 12
Conclusion
There are many things about Transfiguration that still are unknown to the wizarding world. Questions still linger and many things are simply taken for granted. This book, I hope, encourages you to continue in the field of Transfiguration to help discover the answers to these endless questions.
While this is an introductory book into the subject matter of Transfiguration, many witches and wizards will find themselves wondering whether Transfiguration is right for them. Every witch and wizard can excel in Transfiguration with practice and precision. To get to the point of expert Transfigurist is prestigious among the Wizarding Community, and is a rare title to hold, indeed. I hope this book encourages you to consider the path of Transfigurist and I also hope that it helped you grasp a better understanding of the ideology behind Transfiguration. It is an art that is still shrouded in mystery.
I implore you to purchase my next book, Intermediate Transfiguration, which offers a plethora of higher level spells than the ones covered in this book. Continue on the path of discovery, dear reader, and good luck in everything you do.
Chapter Thirteen
Gamp’s Law of Elemental Transfiguration.
The five exceptions to transfiguration are understood as follows:
1) Food : One cannot conjure food out of thin air. Food must be found or had, then perhaps you can enlarge the food you have or charm it to taste better. Also, non-edible items cannot be made edible by transfiguration means.
2) Creating Humans : One cannot turn an inanimate object into a human being. Dark magic can, however, cause a human to be produced from a beast, but inanimate objects cannot be turned into living, breathing humans.
3) Permanence : All transfiguration magic will fade with time. No magic can truly last forever. It is common knowledge that all lingering spells shall be finite when the creator of said spells perishes. Death releases all magic.
4) Love : Love cannot be produced in the form of making oneself more attractive. Attractiveness does help in the field of human chemistry, but overall, love is a predetermined state of attraction that magic cannot produce.
5) Money : Galleons, Sickles, and Knuts cannot be produced by transfiguration means. Magical banks, buildings, and places of commerce have complex magic that dispels any such means of thievery.
Chapter Fourteen
Basic Transfiguration
1) Arianat
Arianat is a useful little transfiguration spell.
It transfixes a spider into a glove for an undetermined period of time.
The wand movement is a sharp jab.
Concentration should be moderate to relaxed.
2) Moulage
Moulage morphs metal into a liquid.
The liquid is burning hot and deadly to the touch.
If performed correctly, the trail of liquid can be controlled.
The wand movement is a sweeping up-to-down swipe.
3) Draconifors
Draconifors transfigures a small dragon statue into a small dragon.
The dragon created is limited in power, but still dangerous.
This useful little spell is often performed in Hogwarts (See Foreword).
Wand movement should be a jab towards the statue.
Concentration should be determined mind frame.
4) Induvia
This beginning practice spell transfigures a beetle into a button.
The button should not have any legs, nor eyes.
The color, shape, and size of the button is determined by caster.
Wand movement is a jab.
5) Folium Vesica
This spell transfigures a leaf into a blade.
The blade, if spell done correctly, should be sharp and silver.
The hilt should have a leafy design.
Wand movement is undetermined.
6) Astrayo Oh Nu Prolixus
This incantation transfixes a dragonfly into a broach to be worn.
The broach should resemble a glistening, jeweled dragonfly.
The broach should not move if done correctly.
The color can be changed if caster is advanced enough.
Wand movement is a swirling motion while saying the lengthy incantation.
7) Vera Verto
Vera Verto Tranfigures a small rat into a cup.
The cup should not be furry, have a tail, or squeek.
I would advice not to drink the cup at first.
Wand movement is to tap the rat three times then swirl your wand.
Then release the incantation.
8) Diripeo
This incantation transfigures a pillow into a vase.
The pillow cannot be a feather-filled variety.
The feathers destroy the magic flow in this spell.
Cotton, wool, or a synthetic variety is encouraged.
9) Animadverto
Animadverto transfixes a bird into a telescope.
The spell only lasts for ten minutes at the most.
Wand movement is twenty sharp taps to the bird's stomach area.
10) Vestis Vestio
Vestis Vestio transfigures a blanket into a beautiful flowing dress.
Unfortunately, midnight and noon negates the spell.
This means, at midnight (or noon) the spell will fade. [See Cinderella]
The dress must be visualized thoroughly before the spell is cast.
Lay the blanket down, move your wand move the entire length.
Then mutter "Vestis Vestio".
11) Professio
Professio is the art charm spell.
This spell allows a normal picture, photo, or painting to move.
All moving portraits are charmed with this spell.
The wand movement is a poke in the art piece's focus (See Art book).
12) Aguano
Aguano transfixes gold into silver.
The incantation itself lasts several days,
but Gamp's law states money does not affect with this.
Only items of non-monetary value are succumbing to this charm.
13) Flamma Congelo Lepar
This is the flame freezing charm.
The caster should send their wand to the heart of the flame.
They should then say the incantation.
The flames will then freeze as long as the caster stays focused.
Floo Transportation is known to inhibit freezing charm tendencies.
Chapter Fifteen
Self-Transfiguration
1)Sommes Constructum
Sommes Constructum is the body-building transfiguration spell.
One needs to fully imagine their new body, emit the incantation.
The magic will only lasts for one hour at the most.
Your body can morph to anything human while the spell is used.
2) Saeta
This charm changes the color of your hair.
Used in transfiguration education classes,
the charm has many practical uses.
The caster must visualize the color and send wand to hair.
3) Tergum
Tergum transfixes one's skin color.
Any colored skin can be achieved, even green or blue.
4) Animagus
Animagi are wizards and witches that can change into animals.
Highly advanced magic, only adult wizards can perform this.
So few wizards/witches can use this magic, that only ten are allowed a century.
The patronus charm usually reveals what animal one will take in animagus.
Animagus transformations can be reversed by the counter charm "Exbestia".
Formula 1
Diagram 1
Pattern 1