Tag Archives: archangel

Unlocking the Observatory: Natal Stars, Stellar Angels, Lunar Mansions, and Questions

May 22, 2022 By in occult Tags: , , , , , , , , , , , , , , , , , , , 2 Comments

Where were we? We’re in the middle of discussing the obscure Telescope of Zoroaster (ZT), a manual of divination and spirituality originally published in French in 1796 (FZT) at the close of the French Revolution, which was later translated into German in 1797 (GZT) and then again in an abridged form as part of Johann Scheible’s 1846 Das Kloster (vol. 3, part II, chapter VII) (KZT), with Scheible’s work then translated into English in 2013 as released by Ouroboros Press (OZT).  Although OZT is how most people nowadays tend to encounter this system, I put out my own English translation of FZT out a bit ago as part of my research, and while that translation was just part of the work I’ve been up to, there’s so much more to review, consider, and discover when it comes to this fascinating form of divination.  Last time, we talked about reading the large hexangular figure as the Great Dial and how to use “option-whittling” to determine the specific details of a situation, including especially matters of time. If you need a refresher on what we talked about last time, go read the last post!

※ For those following along with their own copy of ZT (get yours here!), the relevant chapters from ZT are the “Second Supplement” and “Third Supplement”.

And now we get to the part of the ZT discussion that had me scratching my head (and banging it against my desk) for the longest time, and one of the reasons why I got so obsessed with trying to figure ZT out.  This is about to get messy, so strap in, dear readers.

We’ve covered a lot of ZT up until this point, it’s true; while I’m not following the order of ZT’s “Steps” or “Supplements”, I have covered the majority of the actual divinatory technique itself (barring the process of divination, refinements to query and tool, etc.), and even part (but only a very small part) of the spirituality, theology, cosmology, and anthropology of the ZT.  And, up until this point, much of the technique-related stuff is surprisingly simple: sure, there’s definitely a lot to it and damn-near countless ways to plot out various arrangements of things in the Great Mirror, but the bulk of the system isn’t a whole lot more than “there are some primary general concepts, we can combine and permute them in these ways, and now we have all these secondary specific concepts”.  This very approach is what got us all the meanings of the 99 Number tiles and the meanings of the 37 houses of the Great Mirror, and even the “option-whittling” approach used to simplistically determine time or other details of situations isn’t too complicated to figure out at a high level and apply in a variety of different ways.  This is why, given all the complexity and specificity that ZT can allow as a divination system, I think ZT is a masterpiece of elegance by means of extrapolation from simplicity.

Take a look, dear reader, at the plate called “The Urn”, which gives ZT’s own depiction of the various tiles to be used for divination, embellished with all relevant information for amateurs to more easily pick up and run with as they learn the system of ZT:

Each of the Number tiles has the number in the center in the middle, the planet (more accurately, the planetary intelligence) it’s associated with on the left, and the Zodiac sign it’s associated with on the right.  Each tile also has a name in the banner underneath the number; tiles 1 through 9, the primitive Numbers, get the names of their respective Intelligences, but each of the other tiles has the name of what appears to be an angel: Gabriel, Kiriel, Barbiel, Dirachiel, and so forth.  Moreover, some of these angel names are repeated across multiple tiles, e.g. Dirachiel has tiles 15, 60, and 87.

Thus do we come to the “Second Supplement”.  This chapter opens up with a lengthy and passionate introduction to how the method of ZT is but the foundation of a much grander system of theurgy and divinity—the layer of stone that gives way to marble, marble to crystal, crystal to diamond, diamond by heavenly brilliance itself—and that we shouldn’t be surprised that humans are but one type of entity throughout a dazzlingly diverse cosmos of entities of all kinds both corporeal and incorporeal, and how humans have the ability to see visions of spirits or who are taught about matters of the future or of God by means of spirits.  Immediately after this, we are introduced to the notion of a particular set of angels relevant for our studies in ZT (although, admittedly, nowhere referenced in any earlier part of the book).  I’m just gonna quote what ZT says on this point:

The Great Cabala recognizes, as we have seen, nine Intelligences. However, the two solar Intelligences and the two lunar Intelligences answer only to one planet each per pair, even if the Intelligence presiding over the material aspect subject to its Planet is not, somehow, a first Satellite of the spiritual Intelligence, rather than an Intelligence of the first order itself. On these grounds, the totality of Intelligences has only seven bases, which are the seven Planets. Each of these planets has four Messengers—Angels, in other words, which are according to the Greek etymology Αγγελος, this word meaning “messenger” in this beautiful language. These Angels, or Messengers of the Planets, are therefore 28 in number. There are as many boxes in the Great Mirror, allowing for each Angel to have their own fixed abode. Each Planet lodges in its orbit the Angels attached to it. Recall that some boxes are common to two Planets; the Angel who dwells in such a box is at the service, then, of its two corresponding Intelligences.

We will present a Table below where all the Cabalistic Angels are named and, next to each, as many mysterious Stars as they govern in the celestial regions. Following these, their names will be specified, as well as their Planets and the box that each Angel occupies in the Great Mirror, along with the three or four numbers assigned to it among the 99 with which the Table of Intelligences is provided. The Angels that rule four numbers each are those that occupy the six corner boxes of the Great Mirror; three of these are solar and three of these are lunar, as the column of signs in the table will show.

Each of the Stars that we will shortly name is, by its own account, a natal Star. It is common enough to hear that “so-and-so was born under a lucky (or unlucky) star”; however trivial this manner of speaking has become, it is still of cabalistic origin. Indeed, each of the allegorical Stars (which we will make known) influences all humans born under it, for each star’s reign is 13 days, 61 minutes, and 25 seconds per year. The total of the reigns of the 28 natal Stars anticipates the six hours per year on the totality of 365 days, with the 366th day of the leap year included in the net total of the days of four years. The domain of the 28 Stars thus starts again from the same instant every four years to complete a new period at the end of the same duration. This calculation can be verified by the Candidate arithmetically.

But let us first provide the promised Table, after which an easy-to-use dial shall be presented to put the Amateur within reach of recognizing, without fear of error, under which Star one is born, of what quality it is, what it allows to hope for, what it threatens, and whether this natal Star is friend or foe to the planet which governed in particular the hour in which the birth took place. It is thus for all the events of life, there not being a single thing however arbitrary or futile it might seem, which is not influenced by the circumstances of Heaven.*

* We do not wish in the slightest to bring the reader back to judicial astrology, for judicial astrology sprang from the Cabala and corrupted it. […]

We are then treated to the following two-page table, where the columns are “Influencing Stars”, “Governing Angels”, “Planets”, “Houses”, and “Numbers Influenced”, respectively:

My rendition of the table, for easier reading:

Stars Angels Planets Houses Numbers
1 Alnacha Gabriel ☉ ♃ 4 10 45 69
2 Albukaim Amixiel ♄ 20 14 59 77
3 Alkoréya Géniel ♀︎ 24 12 66 84
4 Aldaboran Azariel ☿ 30 28 58 76
5 Almuzin Sékéliel ♄ 36 23 68 86
6 Alkaya Dirachiel ♃ 27 15 60 87
7 Aldira Michael ☉ ♄ 7 32 55 95
8 Albiathra Amnediel ☾ ☽ 34 ✠ 19 56 92 17 ☽
9 Alkarphès Barbiel ♂︎ 21 61 79 82
10 Algebla Ardéfiel ☿ 32 22 67 85
11 Alkratia Néziel ☉ ♀︎ 25 18 21 54 81 ☉
12 Alsarpha Abdizüel ☉ ☿ 5 27 31 64
13 Algaira Jazékiel ♀︎ ♃ 12 30 51 93
14 Alkimecht Ergédiel ♃ 29 24 33 78
15 Algaphar Ataliel ☽ 33 26 29 65
16 Alzibian Azéruel ☽ ♄ 18 38 41 62
17 Alactil Adriel ☽ ☿ 31 ✠ 11 40 74 35 ☽
18 Alkab Egibiel ☉ ♂︎ 22 ✠ 16 36 63 90 ☉
19 Alzébra Amuziel ☽ ☿ 16 13 20 91
20 Analkaim Kiriel ♄ ♂︎ 8 25 73 94
21 Abeldack Béthunael ☿ 14 49 71 96
22 Zaddadena Géliel ☽ ♄ 37 ✠ 44 50 83 89 ☽
23 Sabadola Réquiel ☾ 35 47 53 80
24 Sadahad Abrimaël ♂︎ ♀︎ 10 34 48 97
25 Sadalakia Aziel ☉ ♃ 28 ✠ 37 42 72 99 ☉
26 Alporabot Tagriel ☉ ♂︎ 2 46 52 70
27 Alkarga Athémiel ♀︎ 26 57 75 98
28 Albothan Raphaël ♂︎ 23 39 43 88

Alright, let’s cut the crap: this is just a table of the 28 mansions of the Moon with their angels, and the description preceding the table is clearly describing the same thing.  By saying that “each star’s reign is 13 days, 61 minutes, and 25 seconds per year”, it’s basically giving the calendrical equivalent of saying that each mansion’s span of the ecliptic is 12°15’26” (the average daily ecliptic motion of the Moon).  And, to those who are familiar with Cornelius Agrippa’s Three Books of Occult Philosophy, the names of the mansions (delightfully corrupted as many Arabic names and words always are in any European text) are still basically the same as those given in book II, chapter 33, and ditto for the names of the angels of the mansions from book III, chapter 24.  For a text that so vehemently denies any connection with “judicial astrology”, debased and corrupted as ZT claims it to be, there’s a delicious sting of irony in seeing how far that’s really true.

Let’s take a closer look at the table.  What we have here is:

  • An index of the names of the 28 lunar mansions (what ZT calls “natal stars”) along with the presiding angel of each
  • Each mansion/angel’s corresponding planetary association (more on that in a bit)
  • Which house of the Great Mirror the mansion/angel is associated with (marked with a ✠ if it’s a corner house)
  • What Number tiles are associated with the mansion/angel (three for non-corner houses, four for corner houses along with what that extra Number’s specific planetary association is)

ZT goes on to note, immediately after the table, a few things that would appear to be missing from the table:

  • The primitive Numbers (1 through 9) are direct representatives of their respective planetary Intelligences, so they don’t get associated to any angel; only compound Numbers get associated with angels.
  • Houses 1, 9, 11, 13, 15, 17, and 19 in the Great Mirror are already taken up by the seven planets themselves, so those don’t get associated with any angel.
  • Because there are 37 houses in the Great Mirror, if we take away 7 for the seven planets, that leaves us with 30—two too many for the angels of the lunar mansions.  To this end, all nine of the planetary intelligences get associated a house: all the non-luminary Intelligences just get their planet’s own house, but the Sun and Moon are split, such that Psykelia gets house 1 (the Sun’s proper house in the Great Mirror), Genhelia gets house 3 (between Psykelia and Erosia/Venus), Seleno gets house 11 (the Moon’s proper house in the Great Mirror), and Psykomena gets house 6 (between Psykelia and Seleno).

Based on this—as well as a lengthy description—ZT also gives us Plate VI, illustrating the Great Mirror with all the angels associated with it.  It breaks this diagram out into a “Drum” (the large hexangular figure with the names of the Intelligences and angels in it) and “Border” (the zodiacal and lunar mansion divisions along the ecliptic, along with the 13-ish days per lunar mansion).  The Arabic numeral in each house is the house’s rank in the Great Mirror, while the Roman numerals in the non-Intelligence houses indicate the rank of the lunar mansion of those particular angels.

Now, tell me, dear reader, if you so kindly would oblige me: what about any of this makes any goddamn sense I swear to god.  How on Earth is ZT fitting any of this together, when so little of it makes any sense?

  • If you look at the order of the mansions/angels associated with the houses of the Great Mirror, what exactly is happening?  Why does mansion I get put in house 4, II to 20, III to 24, and so forth?
  • While the names of the mansions themselves are basically correct, and most of the angels seem right, there are a few that aren’t.  Comparing with Agrippa’s list, while ZT makes use of the three archangels Gabriel, Michael, and Raphael, these appear nowhere in Agrippa’s list, and instead appear to replace the angels Anediel, Gabiel, and Amnixiel.
  • Further, while most of the mansions in ZT have the same angels in the same order as in Agrippa, some aren’t; mansions 1, 2, 3, 5, 7, and 28 don’t have the right angel names (either being swapped out with an archangel name or just using an existing name in the wrong order, e.g. ZT giving mansion II to Amixiel but Agrippa gives Amixiel to mansion III.
  • The Numbers assigned to each angel/mansion are all over the place.  They tend to be related to the planetary associations of each angel/mansion, but so many of them have ones associated with the Sun or Moon (of either intelligence) as well.
  • What happened to the ✠ mark for mansion XI/house 25 for Neziel?  That’s a corner house, so it should have that mark, because it has four Numbers associated with it.
  • For the most part, whatever angel gets whatever planets in that table, it has at least one tile of those planets associated with it, and not others (except for the solar and lunar tiles getting scattered all over the place).  In that light, why does Raphael—an angel in the exclusive orbit of Mars—get a Number associated with Venus (39)?
  • Why does Kiriel—an angel in the orbit of Mars and Saturn—get a Number associated with Mercury (94)?  For that matter, while Kiriel has a Number of Mars associated with it (25), it lacks one for Saturn.  Where’d it go?

Perhaps the biggest question I have about any of this is this notion of planetary associations with the lunar mansions, which just isn’t…like, a Thing.  Like, I’ve spoken with a number of professional astrologers about this, and the lunar mansions don’t—and shouldn’t—get planetary associations, beyond possibly linking the nature of particular fixed stars found within those mansions to planets and from there to the mansions itself, but this just isn’t done.  None other than Chris Warnock (of Renaissance Astrology) touched on this once upon a time on his blog:

In Vedic astrology the 27 nakshatra do have planetary rulers, but this is based on a planetary period sequence, similarly to firdaria. The sequence is Sun, Moon, Mars, North Node, Jupiter, Saturn, Mercury, South Node and Venus. A number of traditional Western sources do give planetary rulerships for the Mansions, but each one is different, some use the Chaldean Order, some the days of the week order.

A majority of traditional sources on the Mansions do not provide planetary rulerships and those sources that do, don’t agree on the system. The Liber Lunae, Sloane Ms 3826, a mid-Sixteenth Century English source gives a strange sequence of planetary rulerships, that doesn’t follow the Chaldean Order or the days of the week. The Liber Lunae Mansions are contained in my Mansions of the Moon Book.

I would have to ask why logically the Mansions of the MOON would even have planetary rulers? Aren’t these the Moon’s Mansions? This reminds me of the confusion over planetary rulership of fixed stars. Because Ptolemy in Tetrabiblos says that fixed stars “have the nature of” various planets, this has been taken as meaning that the planets rule these fixed stars. Again, logically the fixed stars are in a higher sphere and in fact the fixed stars “rule” the planets.

My view is that having planetary rulerships for everything is like the modern Aries = Mars = 1st house. It is collapsing the nuances of traditional astrology and losing the underlying structure.

Still, there is some support in traditional sources, the problem is which source do you choose and then what does it mean if Mars, for example, “rules” the first mansion? I can see that the designers of Solar Fire were confused because they insist on giving the location of all the planets in Mansions. We can therefore puzzle over the meaning or to my mind, the lack of meaning, of Saturn in the 5th Mansion.

And in a comment to someone else on that post, he said:

But why would a particular planet be stronger in a particular Mansion of the MOON? What does any planet, except the Moon, have to do with the Mansions? Other than “we always use the planets for everything” that is?

Like, we can consider the signs of the Zodiac and the mansions of the Moon to both be divisions of the ecliptic, sure, but if the signs of the Zodiac get assigned planetary rulerships, then why not the mansions of the Moon?  The difference lies in the conceptual backing of each: for the signs of the Zodiac, they are based on the Sun and Moon together (one solar year is an approximation of twelve synodic lunations, so we divide the ecliptic into twelve equal segments), and then we assign planetary rulerships to the signs based on their aspectual relationship to the Sun and Moon…

…but the 28 mansions of the Moon are a division based only on the daily average ecliptic motion of the Moon.  Moreover, the lunar mansions are meant exclusively for the Moon, and are used for other purposes than the 12 signs of the Zodiac are.  To give them planetary assignments or affiliations just isn’t something that’s really done, much less done commonly or in any standard approach, and as Warnock notes (and as I’ve seen myself), in the handful of texts that do attempt it—because why not, there are 28 = 7 × 4, so just give each planet four mansions—none of them seem to do it in the same way.  The other planets just don’t matter for the lunar mansions, not whether what planet is in whichever mansion, nor wherever the Moon is in any of the mansions; if we wanted to know the Moon’s strength or weakness according to other planets, that’s what the usual signs of the Zodiac are for, not the mansions.

Even if we ignore the planetary stuff, still, nothing about the rest of Plate VI or the angel/house/tile assignments makes sense.  And that’s the really frustrating bit, isn’t it?  It’s clear from everything else we’ve seen in ZT that this is a system that is built on extrapolating from principles, building up from smaller things into larger things; this system is not randomly thrown together, but is clearly something that was intentionally and explicitly designed.  And then we have this system of lunar mansions (disguised as “natal stars”, repurposed as quasi-Zodiac signs to determine someone’s ruling star/angel by seeing what mansion the Sun is in at the time they were born) which uses a system of angel associations which are mostly the same as those used in (damn near, or indeed actually) every other text but which uses some weird variation in it, and just…what?

It was even getting to the point that I was thinking that this might be a blind for something else—and I hate the notion of blinds in occult texts.

Here’s my take: yes, there are some occult and spiritual texts that do legitimately make use of blinds, i.e. ways to encrypt, encode, or otherwise obfuscate information with the use of keys or secrets that only a select subset of people would know, but throwing other people people not in the know off the trail.  It does happen, sure—but it happens so infrequently that anyone claiming that blinds are anything but rare don’t know much about the texts themselves, and are mislead by both romantic notions of secret chiefs encoding ancient wisdom in simple texts as well as the famousness of particular instances of blinds or keyword-translations that have entered the public imagination.  Across the vast majority of texts, when someone says X, it means X.  It is far, far more common to simply present a variation in technique than to present a difference with a wink and a nudge to mean something else—and it’s also even more common to just have typos in any given text.

Like, let’s be honest: unless you’re a legitimate spy (or spymaster) or professional cryptographer (like John Dee or Johannes Trithemius), you’re probably not gonna make a good blind or encryption worth your time, and you risk so much by putting out such a blinded text anyway.  Consider: if you put out a manual that proposes to teach stuff, and you deliberately put misleading information in with the intended goal that the manual should only be used by people worthy of possessing it, then you run into the ethical problem of giving people bad or incorrect processes that can cause severe issues, even irreparable harm.  If that’s the case, if such a book comes into the hands of someone exceptionally crafty who can manage to break such an encryption, then all your work just fell to naught and has entered the hands of someone you don’t know and don’t trust and didn’t want to have the information to begin with—which might be even worse than the previous situation, depending on the nature of such information.  If you want to keep information secure, then the best way to go about it is to just not publish it.  And let’s be honest: publication is expensive!  Between the sheer cost of the supplies and the process of setting type and printing text and binding it into pamphlets or books, to say nothing of making multiple copies thereof?  If you want to keep information limited, the best way is to just not commit it to paper—especially one that has to go through a publisher who can always make more such books on their own.

In that light, let’s consider the method and approach of ZT.  ZT claims to have this ancient teaching of wisdom, divination, and theurgy that allows people to rise and perfect themselves in harmony with celestial intelligences, and it says that the text it provides is a key—granted, it is only a key and not a full treatise that explains the whole system, but it is a key which it claims can unlock anything.  It then provides the most rudimentary basics of its systems and methods tells the reader to use them the rest of the way, and if the “Pure Spirit” guides them, they’ll figure the rest out on their own by using the information in ZT.  Beyond that, it fully expects that this information should be limited, which is why the book was limited to only 50 copies (it claims) and expects most people to disdain it and the author for it.  The approach of ZT here is so completely against the notion of using encryption or encoding or blinding at all: rather than trying to hide something, it just either doesn’t say it or it gives the basics of something and tells the reader to figure out the rest.

All of which is to explain my sheer frustration with this particular instance of assigning angels to the houses or tiles to the angels: everything else in this system just seems so elegant, well-put, and intentional, and then there’s this seemingly random thing, seemingly tacked-on in a later chapter with stuff that is never—not once—mentioned anywhere earlier in the text, and which doesn’t even seem necessary for the actual process of divination?  And then, in the Epilogue, the messages from the Redactor go on about how they only mentioned “the good angels, not betraying the evil ones”, and that how they “[at first] refrained from mentioning anything relating to the angels”?  And how ZT basically forces us to reinvent computus by, instead of just looking up in an ephemeris the Sun’s location along the ecliptic, making us do calendrical math to figure out under what natal star one is born under while also factoring in leap years?

This is the only part of the system of ZT that seems nonsensical, and the more I looked at it from any and every conceivable angle, the more nonsensical it became.  In that light, we have a few options:

  1. This part is really just arbitrary and made up with no real rhyme or reason.
  2. This part has some sort of pattern, but which is not clearly stated in the text and which may have as much noise as it does standardization.
  3. This part is based on some other source that ZT does not explicitly reference, which may itself have its own reasoning and method explainable in another way that isn’t dependent on or related to ZT.
  4. This part is a blind.

Option 1 (it’s arbitrary), while it can’t be ruled out, seems to fly so far into the face of ZT’s method and approach that it’s almost an insult.  Option 2 (it’s an incomplete pattern) is what I was trying to figure out, but not making heads or tails of it and being unable to reverse engineer it is itself a problem, so that’d lead to a dead end.  Option 3 (it’s based on some other system)…well, not knowing what other system that might be, it’s a possibility that would require further research.  Option 4 (it’s a blind)…like, I hate the idea, but this may well be a case of it.  Like, in my bitching about this and saying how tacked-on this whole bit feels to ZT, Nick Chapel from Hermeticulture (the lovable asshole who got me started on all of this) said:

It also sounds like the author wanted to include that supplemental material in the print run of 50, but needed to get it in to the publisher and so settled for an abbreviated explanation. It’s possible that the author might have chosen to blind the information because they knew they wouldn’t be able to lay out an adequately complete explanation in the time or space given, and wanted to ensure that anyone who was going to be using it understood the principles behind it. At least enough to see “hey, this doesn’t make sense” and have enough sense themselves not to use it until they figured it out.

[…]

…as both a puzzle designer and solver, you know that the puzzle wants to be solved. Even if it’s an intentional blind.

Like, it was this specific problem that got me to translate ZT from the original French version of it to begin with, to make absolutely sure that I wasn’t missing anything and that I could go through every section and line with a fine-tooth comb and make sure that there was nothing amiss.  And, while I definitely learned quite a bit more from FZT than I did KZT/OZT, I still found nothing in FZT that helped this particular situation.

But then, acting on a weird hunch, I did—and I’ll talk about that next time.  In the meantime, see if you can figure anything out about this particularly puzzling system, and if you can pick up on any interesting patterns or parallels with other texts, do say so in the comments!

Three Prayers for Times of Illness and Disease

March 17, 2020 By in creative, occult Tags: , , , , , , , , , , , , 5 Comments

A prayer of my personal practice for the Archangel Raphael, the Healing of God, based on the Chaplet of Saint Raphael the Archangel and other Christian prayers, and which may be useful in these times.

In the name of God, the Holy, the Light, the All-Knowing, the All-Aware!
Holy, holy, holy, Lord, God of Hosts, Heaven and Earth are full of your glory,
and your glory is known to us through your glorious angel Raphael.
Holy, mighty, and wondrous is your angel Raphael!
O Raphael the Healer, angel restoring us to health!
O Raphael the Guide, angel giving us Light on the way!
O Raphael the Companion, angel accompanying us to joy!
Divine physician, heavenly scientist, celestial traveler,
it is upon you we call, to you we lift our hands seeking succor!
When all hope is lost, Raphael, you give us hope.
When all health is lost, Raphael, you give us health.
When all love is lost, Raphael, you give us love.
When all life is lost, Raphael, you give us life.
When all seems lost, Raphael, you turn back the tide
of darkness, of sorrow, of misery and misfortune
and restore us to a whole, hale, happy and holy life.

In every trial, holy Raphael, stand for us!
Be our advocate in Heaven at the end of days!
Be our support in every problem we face!
Be our sight in every dark night we see!
Be our healer in every illness we suffer!
Be our leader in every journey we undertake!
Be our strength in every battle we join!
May God send upon you peace, holy Raphael,
and upon your wings, may you send peace upon us all.

Amen.

A tasbīḥ-styled set of prayers using the misbaḥa, the ring of Islamic prayer beads of three sets of 33 beads.  This prayer practice is largely original, but incorporates the Jewish blessing Birkhat haGomel.

  1. Recite once: “In the name of God who lives and reigns forever.”
  2. On each of the first set of 33 beads, recite: “O cure of all diseases, lead me to health.”
  3. On the first separator, recite: “God willing, o Raphael, come swiftly to my aid.”
  4. On each of the second set of 33 beads, recite: “O terror of all demons, lead me to virtue.”
  5. On the second separator, recite: “God willing, o Raphael, come swiftly to my aid.”
  6. On each of the third set of 33 beads, recite: “O guide of all paths, lead me to victory.”
  7. Recite once: “Blessed are you, o Lord of Creation, who bestows upon me every goodness.”

And one last prayer, this one for general healing from illness based on the Noble Qur’ān (verses 21:83-84) and several Islamic supplications attributed to the Prophet Muḥammad for healing diseases.  This may be prayed for oneself, for another person at the appropriate places, ideally using their matronym (e.g. “John son of Elizabeth”), or on behalf of all who are ill and suffering from illness.

O God, my God, hear me my prayers,
o you who preserve us through all our suffering,
o you who sustain us all the days of our lives,
o you who restore us to good health and living,
o you who keep us alive until the proper time of our return to you.

In my body abides illness; only you can remove it, o Lord.
Truly have I been seized by distress and torment in my body and my soul,
but you are most merciful among all the merciful,
and in you I take refuge from all the pain and fear I suffer.

In my body abides disease; only you can provide the cure for it, o Lord.
Truly are you the best healer and keeper of health,
for without you, we have nothing and are nothing,
and you provide solutions without problems, cures without illness.

Truly are you are the cure of all cures, the key to all salvation!
Free me, release me, save me, deliver me from this suffering!
O God, cure me of all illness.
O God, cure me of all sickness.
O God, cure me of all disease.
O God, cure me of all infection.
O God, cure me of all infestation.
O God, cure me of all plague.
O God, cure me of all affliction.
O God, cure me of all pollution.
Free me, release me, save me, deliver me from this suffering!

Restore me to my health, that I may continue to give my praise to you!
Sustain me in my health, that I may continue to give my glory to you!
Preserve me in my health, that I may continue to give my worship to you!
Protect me in my health, that I may continue to give my devotion to you!

Amen.

May all I, all those with me, all those who have gone before me, all those who come after me, and all people in all parts of the world of all ages, cultures, languages, origins, faiths, practices, and habits find respite in this time of trouble, health in this time of pandemic, comfort in this time of distress, and peace in this time of turmoil.

A New Version of the Chaplet of St. Barachiel the Archangel

September 27, 2019 By in creative, occult, philosophy Tags: , , , , , , , , Leave a comment

Back in 2014, I undertook a project where I came up with new chaplets for some of the lesser-known archangels.  Chaplets, as many of you are aware, are types of prayers made using prayer beads in the Western Christian, especially Catholic, traditions; the famous rosary is a specific type of chaplet, and many chaplets exist for any number of holy images, events, entities, and saints in Christianity.  I find them useful to pray in devotion and meditation, myself, and as one of my devotion practices is to the Seven Archangels, I find it fitting to use chaplets as a way to connect and offer veneration to them.  Thing is, however, that while there are definitely seven major archangels venerated throughout Christianity and many Abrahamic traditions, they’re not always the same set of seven.  For me in my practice, I use the Orthodox set: Michael (whose name means Who is Like God?), Gabriel (the Strength of God), Raphael (the Healing of God), Uriel (or Auriel, but either way, the Light of God), Sealtiel (sometimes spelled Selaphiel, but either way, the Prayer of God), Jehudiel (the Praise of God), and Barachiel (the Blessing of God).  Everyone knows who the first three are, as they’re the only archangels named in the Bible (which is why the Roman Catholic Church only officially permits devotions to these three); Uriel is not as well-known, but he’s still pretty popular, especially in magical circles that use Auriel as the angel ruling over the element of Earth.  The latter three, however, are next to unknown in Western contexts.  It’s one of the reasons why I wrote my De Archangelis ebook, to collect and arrange what prayers could be used for them for a Western practitioner.

When it comes to chaplets and the archangels, there are already well-known chaplets for Michael, Gabriel, Raphael, and even Uriel (that last which I initially mistook for a simple rewriting of the Raphael chaplet, but which is sufficiently different enough to be its own thing).  However,  no chaplets seemed to exist for Sealtiel, Jehudiel, and Barachiel, so I wrote one for each of them.  I’ve since had a set of seven chaplets for the seven archangels I work with, and I’ve been pretty satisfied with the practice.  However, of the three that I wrote, I’m very pleased with the ones for Sealtiel (which is a very thorough prayer that calls on the archangel as well as each of the nine choirs of angels to help you pray better—Gordon White of Rune Soup finds this approach fascinating and almost so helpful as to be unfair) and Jehudiel (which is based on praising God through Psalm 151), but I’ve never been as pleased or comfortable with the one for Barachiel.  It never seemed to flow right, I kept getting caught up on how it ran, and I can never seem to get it to work.  I like the base idea of it—using the Eight Beatitudes from Matthew 5 as a base for the chaplet combined with the Priestly Blessing from Numbers 6—but it never seemed to work.

Well, last year, when I was struggling to use this chaplet, I finally got fed up with how it ran (or, rather, how it didn’t), so I decided to rewrite it with the gracious help of the angel Barachiel emself, and I’ve been using it ever since.  I wanted to keep the same bead structure from before and keep the same idea, but change how the prayers ran so that it made more sense and flowed easier and nicer, and I took some further pointers from Agrippa’s Scale of Eight (book II, chapter 11), since the chaplet is based on the Eight Beatitudes.  In accordance with the wishes of the archangel emself, I’ve decided to wait some time before publishing this, on the Friday (the weekday associated with Barachiel) leading up to the Feast of Saint Michael the Archangel and All the Bodiless Powers of Heaven (September 29); this is an excellent day to use this chaplet if you never have before!

As before, the chaplet beads themselves are constructed of three lead beads with a medal of Saint Barachiel (good luck finding one of those!), a crucifix, cross charm, or other angelic charm at the end, attached to a large bead on a ring of eight sets of four beads.

The initial parts of the chaplet are the same as before.  We start the chaplet on the medal, reciting:

Saint Barachiel the Archangel, blessing of God, pray for us, now and forever, awake and asleep, in prosperity and in hardship, in joy and in sorrow, in solitude and in communion, when guided or when astray.  Amen.

On each of the three lead beads, pray the Hail Mary in honor of Mary, Queen of Heaven and of Angels.

On the large bead, if desired, silently pray the Our Father, Glory Be, or another personal invocation to Saint Barachiel.

Each of the eight sets of four beads has a particular recitation to go along with it: one of the Eight Beatitudes, an invocation of one of the blessings of God through Saint Barachiel the Arachangel, a variation of the Priestly Blessing made into a request, and then finally the Glory Be.

The Eight Beatitudes (first bead of each set of four beads):

  1. Blessed are the poor in spirit, for theirs is the kingdom of Heaven.
  2. Blessed are they who mourn, for they shall be comforted.
  3. Blessed are the meek, for they shall inherit the earth.
  4. Blessed are they who hunger and thirst after righteousness, for they shall be fulfilled.
  5. Blessed are the merciful, for they shall obtain mercy.
  6. Blessed are the pure in heart, for they shall see God.
  7. Blessed are the peacemakers, for they shall be called the children of God.
  8. Blessed are they who are persecuted for righteousness’ sake, for theirs is the kingdom of Heaven.

The eight invocations of Saint Barachiel (second bead of each set):

  1. By the intercession of Saint Barachiel, may I be blessed with the keys to the kingdom of my own life, that I might rule over all my affairs with justice and righteousness in all that I do.
  2. By the intercession of Saint Barachiel, may I be blessed with joy, that always I might enjoy all of the fruits of God’s blessing and help bring comfort to others that they too might rejoice in all that God gives.
  3. By the intercession of Saint Barachiel, may I be blessed with power, directed for the work of God for the benefit of all, to accomplish all that I hope for.
  4. By the intercession of Saint Barachiel, may I be blessed with incorruptibility, that I might be perfected through wisdom and lead others to purity of heart and righteousness in soul.
  5. By the intercession of Saint Barachiel, may I be blessed with grace, that I might love God and be loved by God, and all of His creatures that He created.
  6. By the intercession of Saint Barachiel, may I be blessed with the vision of God, that I might always know true divinity, never losing sight of His radiant Throne.
  7. By the intercession of Saint Barachiel, may I be blessed with the inheritance of God, as a human made in His divine image, worthy of all of the promises of Christ.
  8. By the intercession of Saint Barachiel, may I be blessed with victory over all my difficulties in this life, that no one and nothing might stand against me, restrain me, or chase after me in this world.

The Request of the Priestly Blessing (third bead of each set):

May the Lord bless me and keep me.
May the Lord make his face shine upon me, and be gracious unto me.
May the Lord lift his countenance upon me, and give me peace.

Since that’s still really disconnected, let’s put it all together and pray together now:

  1. First Set
    1. Blessed are the poor in spirit, for theirs is the kingdom of Heaven.
    2. By the intercession of Saint Barachiel, may I be blessed with the keys to the kingdom of my own life, that I might rule over all my affairs with justice and righteousness in all that I do.
    3. May the Lord bless me and keep me; may the Lord make his face shine upon me, and be gracious unto me; may the Lord lift his countenance upon me, and give me peace.
    4. Glory Be, &c.
  2. Second Set
    1. Blessed are they who mourn, for they shall be comforted.
    2. By the intercession of Saint Barachiel, may I be blessed with joy, that always I might enjoy all of the fruits of God’s blessing and help bring comfort to others that they too might rejoice in all that God gives.
    3. May the Lord bless me and keep me; may the Lord make his face shine upon me, and be gracious unto me; may the Lord lift his countenance upon me, and give me peace.
    4. Glory Be, &c.
  3. Third Set
    1. Blessed are the meek, for they shall inherit the earth.
    2. By the intercession of Saint Barachiel, may I be blessed with power, directed for the work of God for the benefit of all, to accomplish all that I hope for.
    3. May the Lord bless me and keep me; may the Lord make his face shine upon me, and be gracious unto me; may the Lord lift his countenance upon me, and give me peace.
    4. Glory Be, &c.
  4. Fourth Set
    1. Blessed are they who hunger and thirst after righteousness, for they shall be fulfilled.
    2. By the intercession of Saint Barachiel, may I be blessed with incorruptibility, that I might be perfected through wisdom and lead others to purity of heart and righteousness in soul.
    3. May the Lord bless me and keep me; may the Lord make his face shine upon me, and be gracious unto me; may the Lord lift his countenance upon me, and give me peace.
    4. Glory Be, &c.
  5. Fifth Set
    1. Blessed are the merciful, for they shall obtain mercy.
    2. By the intercession of Saint Barachiel, may I be blessed with grace, that I might love God and be loved by God, and all of His creatures that He created.
    3. May the Lord bless me and keep me; may the Lord make his face shine upon me, and be gracious unto me; may the Lord lift his countenance upon me, and give me peace.
    4. Glory Be, &c.
  6. Sixth Set
    1. Blessed are the pure in heart, for they shall see God.
    2. By the intercession of Saint Barachiel, may I be blessed with the vision of God, that I might always know true divinity, never losing sight of His radiant Throne.
    3. May the Lord bless me and keep me; may the Lord make his face shine upon me, and be gracious unto me; may the Lord lift his countenance upon me, and give me peace.
    4. Glory Be, &c.
  7. Seventh Set
    1. Blessed are the peacemakers, for they shall be called the children of God.
    2. By the intercession of Saint Barachiel, may I be blessed with the inheritance of God, as a human made in His divine image, worthy of all of the promises of Christ.
    3. May the Lord bless me and keep me; may the Lord make his face shine upon me, and be gracious unto me; may the Lord lift his countenance upon me, and give me peace.
    4. Glory Be, &c.
  8. Eighth Set
    1. Blessed are they who are persecuted for righteousness’ sake, for theirs is the kingdom of Heaven.
    2. By the intercession of Saint Barachiel, may I be blessed with victory over all my difficulties in this life, that no one and nothing might stand against me, restrain me, or chase after me in this world.
    3. May the Lord bless me and keep me; may the Lord make his face shine upon me, and be gracious unto me; may the Lord lift his countenance upon me, and give me peace.
    4. Glory Be, &c.

At the end, recite the concluding prayer:

O powerful Archangel, Saint Barachiel, filled with heaven’s glory and splendor, you are rightly called God’s benediction.  We are God’s children placed under your protection and care.  By the grace and power granted to you by God, please aid us in our lives and grant us blessings throughout our travels in this our exile.  Let us know the blessing of God in our physical existence as well in our spiritual growth that we may lack for nothing and have all we need to proceed upon and progress in our paths.  Grant that through your loving intercession, we may reach our heavenly home one day.  Sustain us and protect us from all harm that we may posses for all eternity the peace and happiness that Jesus has prepared for us in heaven.  Through Jesus Christ our Lord, amen.

This chaplet flows a lot nicer and doesn’t feel as blocky, discontinuous, or otherwise uncomfortable; it’s still one of the more involved chaplets and isn’t simply a repetition of prayers, so in many ways, it’s kind of more in line with what might (content-wise) be considered a litany.  Still, though, it’s much nicer than before.  I’ve updated the main page with the chaplet on my website, but I’ll leave the original 2014 post up for kicks at this point; also, the original chaplet will still be found in my De Archangelis ebook (both on my Etsy and on the Books page).

Reviewing the Trithemian Conjuration: Four Kings or Four Angels?

May 13, 2019 By in creative, link, occult, ocha Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 10 Comments

Where were we?  We’re in the middle of discussing the early modern conjuration ritual The Art of Drawing Spirits Into Crystals (DSIC), attributed to the good abbot of Spanheim, Johannes Trithemius, but which was more likely invented or plagiarized from another more recent source by Francis Barrett in his 1801 work The Magus, or Celestial Intelligencer.  Many who are familiar with it either read it directly from Esoteric Archives, came by it through Fr. Rufus Opus (Fr. RO) in either his Red Work series of courses (RWC) or his book Seven Spheres (SS), or came by it through Fr. Ashen Chassan in his book Gateways Through Stone and Circle (Fr. AC and GTSC, respectively).  I’ve been reviewing the tools, techniques, and technology of DSIC for my own purposes as well as to ascertain the general use and style used by other magician in the real world today, and right now, we’re in the middle of focusing how DSIC instructs the table and pedestal to be made.  Last time, we went over the form and design of the pedestal which supports the crystal and which stands on the table.  If you need a refresher, go read the last post!

Okay, so we have the crystal, and we’ve got the pedestal made with the engraved plate of gold that surrounds the crystal (or some variation on that, or none at all, depending on the approach you want to go with).  With that done, we can now get into the second half of the main apparatus of DSIC: the table upon which the pedestal itself sits.  What does this table look like?  We have this description:

…the table on which the crystal stands the following names, characters, &c. must be drawn in order.

First, The names of the seven planets and angels ruling them, with their seals or characters. The names of the four kings of the four corners of the earth. Let them be all written within a double circle, with a triangle on a table; on which place the crystal on its pedestal: this being done, thy table is complete (as in the Fig. D,) and fit for the calling of the spirits…

Let’s break this down:

  • The things that are mentioned must be drawn in order.
  • The things that are mentioned must be drawn within “a double circle”.
  • The things that are mentioned are: “the names of the seven planets and the angels ruling them with their seals or characters”, and “the names of the four kings of the four corners of the earth”.
  • A triangle is also on the table, in which the pedestal is placed.

When we talk about “the four kings of the four corners of the earth”, what names are these?  Although DSIC doesn’t explicitly say, the general consensus that nobody disagrees with is that these would be Oriens in the East, Paimon (or Paymon) in the West, Egyn in the North, and Amaymon in the South.  Joseph Peterson of the very Esoteric Archives itself gives a wonderful note on this topic:

There is considerable variation in identification of the four kings of the cardinal directions. Here are a few: Agrippa, OP2.7 has (E, W, N, S): “Oriens.Paymon.Egyn.Amaymon”, however in OP3.24 he says, “Urieus, King of the East; Amaymon, King of the South; Paymon, King of the West; Egin, King of the North, which the Hebrew Doctors perhaps call more rightly thus, Samuel, Azazel, Azael, Mahazuel,” (See Cichus In Sphaeram Mundi, f. 21 apud quem: Zoroa. Fragm. O104; cf. Salom. ff. 28v-29r; sed addict. K: Reuchl. Arte 3, sig. O7r) MC has: “Bael, Moymon, Poymon, Egyn” or “Asmodel in the East, Amaymon in the South, Paymon in the West, and Aegym in the North”; “Oriens, Paymon, Egyn, and Amaymon”; or “Amodeo [sic] (king of the East), Paymon (king of the West), Egion (king of the North), and Maimon.”

That said, many people use the four archangels Michael for Fire, Raphael for Air, Gabriel for Water, and Uriel for Earth instead of the four kings (as I myself have in the past).  What gives?  Such a table design that uses the four archangels instead of the four kings is mostly credited to Fr. Rufus Opus; even though Fr. RO isn’t the only one to have done it this way, he is the one who most people attribute this design to.  As a result, there’s periodically debate about whether to use the four archangels or the four kings.

Personally, my own work has never significantly involved these spirits beyond a token chat, and even to this day, they’re in this grey area of things that I’m aware are important, but I’m not entirely sure why.  Thankfully, Magister Omega of A Journey into Ceremonial Magick posted a wonderful summary of the four kings in the grimoire tradition, and there’s plenty to show how important the four kings can be, especially for goetic magicians, but also for us as far as DSIC is concerned.  While Omega does cite GTSC and Fr. AC’s own personal view as well as UPG from the angel Metatron, he also cites the good Dr. Stephen Skinner and a number of other authors (I can spot some of Jake Stratton-Kent’s words in there, too):

The four kings are spiritual creatures (and therefore winged) but they are demon kings not angels…

The Kings cannot be approached in the same way you might approach the Archangels.  Start with the lesser demons. Threaten them with the name of their King if necessary.  Only after you have bound a few of the hierarchy, then think about the Kings.  You can use the Kings name without having previously called him (that is just the way it works). …

The Kings open the Gates, not something anyone should do unless they really know what they are doing. Their names are useful to enforce discipline on the spirits belonging to their legions. But, as Frater AC mentioned, they are not the ones you would choose to personally grant the usual run of wishes.

It’s odd to me that we would need the use of the four kings, then, if we were going to use DSIC just for angelic conjuration, but that’s just it: the way DSIC is written (and, as we’ll see later, the sources that DSIC itself builds upon and pulls from) implies that it can be used for angelic/theurgic works as well as goetic/non-angelic works.  In that case, the four kings would be recommended, because it does enforce a sort of authority upon whatever’s being conjured—unless they’re not under the authority of such spirits at all.  But, as Fr. AC said, it may not be about authority at all:

As [the archangels and angels] are the vertical, they are the horizontal.  They are the morally neutral yet powerful governors between the planes of existence.

Still, it’s not like there aren’t multiple traditions of Western magic and cosmology at play here, nor can we ignore that there are different eras and developments in those lines.  It’s simply a fact that many (not all) people haven’t worked with these four kings, needed to work with them, or even had a cosmology that required their presence or their roles in ways that Skinner or JSK or others would describe them, both now and for centuries into the past.  Plus, there are also those who have different views on the roles and nature of these four kings and their relationships to the angels; one person’s UPG is another person’s dismissed rubbish, after all.  If you work with the four kings or recognize them as important in your cosmology, great!  If not, then that’s also fine.  After all, there’s more than one way to skin a cat: there’s no one way to consider the role or nature of the four kings, and no one way to do conjuration (even with DSIC, with all its extant variants).

Now, back to Fr. RO.  What does he say about his design that omits the four kings in favor of the four archangels?  He explains a bit from RWC, specifically in Lesson 6 of the Black Work class:

The Table of Practice is a symbol of the cosmos. It contains an outer circle with the names of the archangels of the spheres, and symbols of their planets. Within that is another circle, this with the names of the Four Angels* of the corners of the Earth. Within that is a triangle with a pentagram, the Star of David with a Yod, and a Maltese cross.

The outermost circle represents the Seven Heavens and the Intelligences therein. They are the governors of the spheres, and their presence helps ensure you get the spirit you’re looking for when you perform your conjuration. The Elemental Kings provide the gate to the material realm, so the spirits can influence your life materially, if necessary, but they also make sure that any spirit you call up of a terrestrial nature won’t go ballistic and eat your soul, leaving you dead by dawn.

These two circles together represent the meeting of the Heavens and the Earth in your temple space.

The triangle in the center of the circle is rather unique. Triangles are used in conjurations as the place the spirit manifests. In the Lemegeton’s Goetia, the magician stands within the center of an elaborate Magic Circle, and the Triangle is placed outside the Circle. The magician is theoretically safe from the evil of the demonic spirits he’s conjuring because the triangle constrains the spirit, and the circles provide further protection.

In The Art of Drawing Spirits into Crystals, the source book for the Modern Angelic Grimoire, the magician sits or stands within a Magic Circle, but he’s got the Triangle of Art engraved on the Table of Manifestation inside the protective circle with him. The triangle is within another set of circles to protect him, but it’s different from most of the other approaches to conjuration I’ve seen.

I like it better with the spirit in the circle with you for purely practical purposes. It makes it easier to sit in front of the Table of Practice and do the scrying, the crystal can be right there in front of you instead of across the room.

It should be noted that in the Modern Angelic Grimoire, I adapted the Table of Practice from the original instructions. The circles and the triangle are on the Table that you use, but then you’re supposed to build a separate device to hold the crystal ball you conjure the spirits into.

Bryan Garner, also known as Fr. Ashen, has recently written a book on The Art of Drawing Spirits into Crystals. He created the tools as specified in the instructions, and if you want to see how it’s supposed to look, you can see pictures of what he came up with in his interpretation on his blog. He added in some stuff from his experience in traditional Solomonic Magic, but it still remains completely in harmony with the original manuscript.

http://bryanashen.blogspot.com/2011/11/its-almost-there-i-promise.html

I tell you this because the things I do, the things I teach are my interpretation, my “Kabala” or “Revelation” of how the grimoires are to be used by magicians who want to use a system that’s proven really effective to me. I encourage you to go back to the sources. In this course, I’ve provided samples and excerpts, but in support of my approach, to make clear certain points that I have found to be really important.

But I’ve filtered it the way I think it should be filtered, and I’ve had good results, but you need to go back to the sources and read them for yourself, explore them with the aid of the spirits. Invest in Tyson’s Three Books of Occult Philosophy, or read them for free on www.esotericarchives.com.

When I put the Table of Practice together, I merged the thing that’s supposed to hold the crystal with the Table of Practice image to accomplish the same functionality as the original design. I didn’t have the ebony and gold to follow the instructions myself, so I made do.

It should probably be noted that this was all done after I attained Knowledge and Conversation with my Holy Guardian Angel. The modifications and adaptations I made were made based on things he had revealed to me as I was studying that and the Scale of the Number 4, and some other things that were percolating in my sphere at the same time.

So it’s not totally made up, but it’s not “by the book” either.

Regardless, it works rather well.

So I put all the symbols where they belonged on the Table of Practice. The triangle is where the spirit appears, and that’s in the center of the Circles.

* Some people say to put the names of the Elemental Kings there, Oriens, Paimon, Amaimon, and Egyn. I prefer the angels, your mileage may vary.

He goes on more at length about the specific symbolism and role of the individual symbols used in the Table of Practice according to his own design, and he sums it up at the end:

Taken altogether, the Table of Practice represents our relationship with the Seven Governors, the Four Elemental Kings, and the Process of Manifestation. It is designed to provide the place where a spirit can manifest, and to give us a shared space between the Heavens and the Earth in which we can work together to accomplish the things we have to do.

Note how he says “Four Elemental Kings” here, even though he’s using the four archangels.  This is because of his interpretation of how Agrippa describes the four angels in his Scale of Four (book II, chapter 7) as the “four Angels ruling over the corners of the world”, in contrast to the “four rulers of the Elements” (Seraph, Cherub, Tharsis, and Ariel), the “four Princes of Devils, offensive in the elements” (Samael, Azazel, Azael, and Mahazael), and “the four Princes of spirits, upon the four angles of the world” (Oriens, Paymon, Egyn, and Amaymon).  On top of them being “rulers over the corners of the world” (which does match the DSIC phrasing), he might have gotten an explicit “king” notion, I presume, due to their correspondence in the Tarot as the Kings of the four suits: the King of Wands to Michael of Fire, the King of Swords to Raphael of Air, and so forth.  It’s not a conventional or historical understanding of the four kings, sure, but it’s not a wrong interpretation, either.

That said, Fr. RO does touch on the role of the four kings of the directions.  In his Lesson 4 of the Black Work course, he says:

Then there are the Four Princes. They aren’t nearly as good as the Angels. The astute student will recognize that at least two of them show up in the Lemegeton’s Goetia as Kings or otherwise as rulers of the Demons. Paimon has a seal and a description in the grimoire, indicating he is one of the rank and file of that system, while Amaymon shows up in a description of Ga’ap, who, among other things, can teach you to consecrate the things “under Amaymon.”

But these guys are not demons, at least, not of the type that will come to you and cause you illness and sickness in order to make you suffer and call out to god for salvation. They can do that, of course, just like the angels can, but they are not specifically designed for that.

These four Princes represent the “neutral” spirits of the elements, and they are as far as close as I get to working with demons these days. They are like the worker bees of the elements, in my experience. They, and their assigned legions, are the ones that oversee the manifestation of the elemental directives of the spirits higher up in the, uhm, hierarchy.

I call on these spirits when I’m doing a banishing ritual, when I’m conjuring up some Genius Loci, or when I’m looking for some instant physical manifestations of something in particular. The last type of conjuration, for instant relief of a desire, is where things get sketchy. It’s generally a bad idea to try to conjure on the fly, but having a good relationship with these four princes can be useful.

I also want to note that Fr. RO began using this design of the Table of Practice as least as early as the start of 2007, because he gives an image of a simple form of it in a post from January 2007, though he mentions beginning to write his Modern Angelic Grimoire back in October 2006, suggesting he was likely already using it around that time.  However, more recently, Fr. RO put out another version of the Table of Practice on his own Facebook page in a post dated May 31, 2015, pretty much identical (with one exception which we’ll get into next time) except using the four kings instead of the four archangels, with the following caption:

I’m preparing to give the Seven Spheres Live course, and going through the slides, I remembered that I corrected the Table of Practice in the courses, but never bothered to say anything publicly about it. The Table of Practice I put together for the Modern Angelic Grimoire used the names of the Four angels of the corners of the world from Agrippa’s Scale of the Number Four.

At the time I put that together, I didn’t know anything about Goetia, or the terrestrial Princes, and since they weren’t called out specifically by name in the Art of Drawing Spirits into Crystals, and because I wasn’t sure about working with “demons” at the time, I went with the Angels. It was super effective so I didn’t think it mattered when I went on to other things, and even though I am now very comfortable working with Oriens, Amaymon, Paimon, and Egyn, I never bothered to update the graphics. 

Jake Stratton Kent mentioned it annoys him to no end to have the Angelic names on the Trithemian Table of Practice, cause it’s not technically right (even though it works fine in practice). So I promised I’d fix it in the course, and I did, but for those who haven’t seen the more accurate version, here it is.

Even by Fr. RO’s own admission, the use of the four kings is the correct set of names to use; it’s just that this version never made it into RWC or even SS due to his thinking and approach at the time.  Well, to use his exact words, it’s the “technically right” and “accurate” approach—which doesn’t mean he necessarily agrees with it or that he disavows using the four angels instead of the four kings.  He probably does, but as many people who use the four angels can attest, it’s still a workable method, and so it’s not fundamentally wrong in practice even if it doesn’t agree with the DSIC instructions.

However, remember how I said that Fr. RO wasn’t the only one who used this design choice of the four angels instead of the four kings?  So too did Fr. Acher of Theomagica, as he explains in his own post on the Trithemian Table of Practice, which he developed around 2009.  He explains his own design choices, too (emphasis mine):

On first reading it was clear we needed to amend this design to fit our budgets and purpose. In the original description the whole device is made up of four elements: the crystal, the gold plate, the ivory/ebony pedestal and the table. While we were committed to staying true to the essence of the original, we had to amend the design to match our limited crafting skills as neither of us is a goldsmith nor a carpenter.

After several weeks of study we landed on a design that brought all the carvings together on a horizontal wooden table onto which the actual crystal would be placed. As we had set out to design a table each, we decided to create one fit for a crystal and the other fit for a black mirror.

The actual elements of the carvings are given as follows:

  • These 3 symbols inside a circle around the crystal:
  • The Tetragrammaton next to or around the three symbols
  • Then the names of the 4 archangels, Michael, Gabriel, Uriel and Raphael
  • On the opposite side of the table the “names, characters, etc.” (sic!) of:
    • the seven planets with their seals,
    • the ruling angels with their seals and
    • the names of the four kings of the four corners of the earth

Of course at the end of the day the whole table had to fit on our altar in the middle of the circle of art. After measuring the maximum space we could give to the table it turned out it couldn’t measure more than 13 inch (30cm) in diameter. Secondly, we knew we wanted to create the whole table from wood and carve all seals, characters and names on it – rather than just painting or drawing them on. Thus we tested carving magical seals into wood with a standard Dremel device and the finest drill applicable. This allowed us to understand the maximum amount of elements in our design that would fit onto a wooden disc of 13 inch diameter.

After these practical considerations we went back to the drawing board and came up with the following design:

We clearly took artistic freedom here and e.g. brought together the seals of the front and back of the table as well as the table and the pedestal on one single surface. We also decided to drop the names of the four kings of the corner of the earth; it would have simply congested the design we had in mind. However, we still felt confident as this version created a full magical circle around the actual crystal. This was a desired effect as the crystal would be used as the locus of manifestation and would be placed inside our circle of art on the altar. Thus any spirit materializing in the crystal would be bound by the circle, names and seals on the Table of Practice.

Since Fr. Acher was doing his work with the Trithemian approach in “late 2009”, this design certainly postdates Fr. RO’s own, but the way Fr. Acher writes, it sounds like he may have come up with the design independently from Fr. RO.  He might have been influenced by Fr. RO for all I know—I’m pretty sure there was at least some back-and-forth between them over the years, especially as far as some of their Arbatel work was concerned, I believe—but I’m not sure that was the case.  And, by Fr. Acher’s own admission, he took “artistic freedom” in the design of the table, but I don’t think anyone would deny that Fr. Acher has gotten good results all the same with his design choices.

Either way, we have at least ten years of people using the four archangels instead of the four kings, and it’s been shown to be another effective approach regardless of how accurate it might be according to the instructions given in DSIC or how much goetic magicians might complain about it or chide others (Al).  It’s also important to remember that neither Fr. RO nor Fr. Acher made use of a separate pedestal for the crystal; if they had, then there wouldn’t be an issue, because the four archangels would go on the pedestal and the four kings on the table.  Because they dropped the pedestal in favor of convenience and expediency, they combined the design instructions for the pedestal and table.  And, importantly, their methods still work without breaking DSIC.

Still, this topic periodically comes up in talks with various magicians, especially as source of debate, as I said earlier.  There’s a fascinating discussion from December 2014 in one of the Facebook groups I’m in that went into the topic at length.  While I won’t quote specific people (Jake Stratton-Kent, Fr. RO, Jason Miller, Fr. AC, and others got all into the discussion along with many others in a ~150-comment thread), here’s the gist of some of the points that were discussed and brought up for the general consideration of my readers:

  • Using the four archangels instead of the four kings can be an unnecessary, unfortunate, and retrogressive sanitization of the grimoire, if not outright being “wussy”.
  • Using the four kings seems to have become more popular in modern general practice after Fr. AC put out GTSC, which has a more accurate rendition of the table from DSIC, yet people were still get results with it anyway.
  • Using the archangels and not the kings can be seen to (but doesn’t necessarily) erase the option of working with elementals, emphasize celestial entities instead of chthonic ones, and result in an imbalanced spiritual approach.
  • Using the archangels may be more appropriate for working strictly or mainly with celestial and angelic entities generally.
  • Using the kings can help “ground” heavenly or celestial entities into a more worldly form, which would be better for actually “drawing spirits into crystals” and, moreover, to a concrete or visible appearance.
  • Some who have used the four archangels at one time and others the four kings at other times get good results either way, so in some ways, the choice boils down to one’s preference and comfort levels working with either set of spirits, but this may also be dependent upon one’s worldview in terms of which is more useful or whether they’re equally useful.
  • Others report that using the four archangels gets results both with conjuring angelic entities as well as demonic, but demonic results always tend to fall short of angelic ones.
  • Others report that the general effect of the ritual is different.  Using the angelic names facilitate more “astral” experiences, being in the realm of the spirit rather than the spirit being in the crystal, while using the king names facilitate a more traditional conjuration experience with the spirits appearing visibly in the crystal.  This might be due to the angels encouraging spiritual elevation and ascension through the spheres, and the kings due to their expansion and facilitation of manifestation on material planes.
  • The four kings, from a grimoiric point of view (especially in light of the fact that many grimoires say that these four entities are not to be conjured directly), provide a necessary warden and converter for various entities to be communicated with from the many levels of reality, whether physical or astral or celestial or something else.  They are, essentially, neutral powers that moderate exchanges between different planes or spheres.
  • Using the four archangels can be seen as redundant or repetitive, considering how several of them overlap with the angels of the planets, leading to the same name engraved in multiple places on the Table.
  • If you consider the circle of names from the pedestal to “overlay” that of the names on the table, then the names of the angels would “cover” those of the kings.  This suggests a binding, controlling, or thwarting influence to the angels who would be seen in command over the kings.  In that light, the presence of the four angels would suggest or imply the presence of the four kings who would be literally and metaphorically “under” them in terms of power or rulership.
  • Even if one doesn’t much care about the specific distinction between the use of angel names and king names in this specific case, it can matter when one considers their overall approach to Neoplatonic cosmology as used in Hermetic or Solomonic ritual, as well as keeping in line with the extensive history and current of tradition that’s repeated time and again in grimoiric literature.

The fact is that DSIC (almost certainly) prescribes the use of the four kings Oriens, Paimon, Egyn, and Amaymon on the table itself, but because it doesn’t explicitly give those names, there is a DSIC style that arose with Fr. RO and (maybe) Fr. Acher of interpreting this to use the four archangels Michael, Raphael, Gabriel, and Uriel for the same purpose with either exactly or approximately similar results.  Which DSIC approach you use is up to you—and it’s important to note that, for the most part, most people using either approach tend to omit the use of the pedestal and combined the inscriptions on the pedestal with that of the table, where you need the names of both the angels and the kings.  Using either set of names on the table works, but depending on your specific approach, need, and cosmology, one set might work better than the other, or it might not; there are a lot of variables and theories here, and it can be justified any which way.  However, if you want to take a strict approach to DSIC, then you’d want to use the four kings on the table and not the four angels, but having the four angels kept using the pedestal.  (Or, perhaps, placed somewhere else on the table to accommodate the lack of a pedestal.  We’ll talk about that option soon enough.)

The most common approach most people take when using DSIC-based conjuration is that they generally tend to omit the pedestal entirely and only use the table.  This means that, unless you’re going to use some sort of unusual combined approach that has both the four archangels and the four kings at the same time on the table, you’re going to miss out on one group or the other.  Depending on how you view the roles of either or both sets of entities, you might consider it a loss or you might not.  However, I think there’s one thing that we can rule out from the list of concerns raised in that discussion thread from above: that having the four archangels from the pedestal on the table itself is “redundant or repetitive”.  For one, the four archangels are not the planetary angels; Michael of the Sun is not Michael of Fire, and Uriel isn’t planetary at all (despite what DSIC might say about him being an angel of Venus).  The name might be the same, but DSIC (and a number of other texts) that a both a spirit’s name and office are significant, and the offices of these spirits are different, which effectively makes them different spirits.  If this was truly just a repetitive thing, then these four angels as a distinct, discrete set shouldn’t appear anywhere at all on either the pedestal or table, which are meant to operate together as a single overall apparatus.  But they do, which means they’re not unnecessary.

For myself?  Because I started with RWC, I’ve used the four angels approach, and that has gotten me to where I am today; I don’t think anyone can really say that it’s ineffective, because I’m quite the counterfactual anecdote that it’s not (along with Fr. RO, Fr. Acher, and many others).  That being said, if I were to start again knowing what I know now, doing what I do now, I’d probably use the four kings approach, and if or when I make myself another table, I would probably use them instead of the four angels, incorporating the four angels somewhere else, so long as both sets are present.  If nothing else, I’ll have another table to experiment with and can draw my own experiential conclusions from that, and perhaps use the two separate tables for different purposes.

So much for the kings versus angel debate.  Thing is, this is just one part of the contents of the table; we’ll get into the rest of the fun stuff next week when we talk about the planetary considerations.