On Elemental Assignments of the Geomantic Figures

It’s a constant joy for me to see the discussions on the Geomantic Study-Group on Facebook, and it’s not just because I enjoy wielding power as an admin over scores of people.  Seeing people contribute geomantic charts and offer community feedback on them, as well as being able to read different perspectives on symbols and techniques used in geomancy, helps me out as much as it does anyone else; while I may be good at geomancy, and no matter how long I practice it or delve into its mysteries, I still consider myself a student in the art, because there’s always more to learn and appreciate.  After all, with only 16 figures to represent the multiple myriads of people, things, circumstances, and events in the cosmos, there’s a lot to unpack in the art.

Occasionally, someone will ask a question about geomancy that will get me to my proper computer to type a proper response, which would be burdensome on my phone.  Recently, someone asked just such a question, and this time about one of the bits of geomantic systems I really enjoy discussing: that of the elemental rulerships of the figures.  The forum member was in a state of confusion about how the elements were assigned to the figures, what the difference was between inner and outer elemental rulerships, and whether these rulerships had any system at all behind them or whether they were just spurious and irrelevant.  You can bet your last coin I gave a response to this, especially to that last part of the question.

First, let’s talk about the inner versus outer element.  This is a distinction I’ve only ever seen in John Michael Greer’s out-of-print book Earth Divination, Earth Magic (1999) and his later and more up-dated The Art and Practice of Geomancy (2009).  In short, the outer element of a figure is the element of the sign of the Zodiac he associates with a geomantic figure, while the inner element is more closely tied to the nature and elemental structure of the figure itself.  From “The Art and Practice of Geomancy” (pp. 33 and 34, emphasis his):

One of the four elements is considered to be the inner element of the figure.  In every case but one—Populus, which has no manifest elements at all—the inner element is a manifest element, marked by a single dot.  The inner element is also called the ruling element, and it stands for the elemental pattern that the figure expresses most intently.  Pay attention to the ruling elements in divination and you’ll have a useful key to the way the events that are predicted or analyzed in a divination unfold in daily life. …

Each figure also has an outer element, which relates to the flow of elemental energies through the sixteen figures in their traditional sequence…  In a few cases this element is the same as the inner element, but usually it’s different.  The outer element shows how the figure expresses itself in the world around it, while the inner element shows what kind of power is in the figure itself.  Fortuna Major, for example, has Fire as its outer element, which represents its power to reshape the world in a favorable way.  The figure’s inner element, however, is Earth, which means its power comes not from rushing around, but from establishing itself solidly and letting everything else move around it.

And again from “Earth Divination, Earth Magic” (pp. 26—27):

Each of the figures contains all of the elements, as we’ve seen, but in geomantic tradition one or another element also has a dominant role in each figure.  There are at least as many ways of assigning the elements to the figures in this way as there are for linking the figures with the Zodiacal signs.  Two of them seem to work well in divination.  The first of these simply uses the elements that correspond to the Zodiacal signs just given.  This set, which I have called the “outer elements” of the figures, has much to do with the way the geomantic figures express their energies in practical terms. …

The second set of elemental correspondences comes from the geomancer and magician Cornelius Agrippa, who provided several different systems but labeled this one an “esoteric arrangement.”  I have found that it does a good job of summarizing the dynamics of the elemental structure of each figure, and it can be thought of as the ruling element within each figure.  I have made one change in the system as Agrippa gives it; he assigned Laetitia to Air and Rubeus to Fire, but I have reversed these in order to bring the inner element and the elemental structure into harmony.

Just to be clear about what JMG is referencing from Agrippa, the following is taken from Of Geomancy, found in Cornelius Agrippa’s Fourth Book of Occult Philosophy:

Now we proceed to declare with what Planets these Figures are distributed; for hereupon all the propriety and nature of Figures and the judgement of the whole Art dependeth: Therefore the greater and lesser Fortune are ascribed to the Sun; but the first or greater Fortune is when the Sun is diurnall, and posited in his dignities; the other, or lesser Fortune is when the Sun is nocturnall, or placed in lesse dignities: Via, and Populus that is, the Way, and People are referred to the Moone; the first from her beginning and encreasing, the second from her full light and quarter decreasing; Acquisitio, and Laetitia which is Gaine, Profit; Joy and Gladness are of Jupiter: But the first hath Jupiter the greater Fortune, the second the lesse, but without detriment: Puella, and Amissio are of Venus; the first fortunate, the other as it were retrograde, or combust: Conjunctio and Albus are both Figures of Mercury, and are both good; but the first the more Fortunate: Puer and Rubeus are Figures ascribed to Mars; the first whereof hath Mars benevolent, the second malevolent: Carcer, and Tristitia are both Figures of Saturn, and both evill; but the first of the greater detriment: the Dragons head, and Dragons tayle doe follow their owne natures.

And these are the infallible comparisons of the Figures, and from these wee may easily discerne the equality of their signes; therefore the greater and lesser Fortunes have the signes of Leo, which is the House of the Sun: Via and Populus have the signe of Cancer, which is the House of the Moone: Acquisitio hath for his signe Pisces; and Laetitia Sagitary, which are both the Houses of Jupiter: Puella hath the signe of Taurus, and Amissio of Libra, which are the Houses of Venus: Conjunctio hath for its signe Virgo, and Albus the signe Gemini, the Houses of Mercury: Puella and Rubeus have for their signe Scorpio, the House of Mars: Carcer hath the signe Capricorne, and Tristitia Aquary, the Houses of Saturne : The Dragons head and taile are thus divided, the head to Capricorne, and the Dragons taile adhereth to Scorpio; and from hence you may easily obtaine the triplicities of these signs after the manner of the triplicities of the signes of the Zodiak: Puer therefore, both Fortunes, and Laetitia do govern the fiery triplicity; Puella, ConjunctioCarcer, and the Dragons head the earthly triplicity: Albus, Amitia, and Tristitia, doe make the Airy triplicity: and Via, Populus, and Rubeus, with the Dragons taile, and Acquisitio do rule the watry triplicity, and this order is taken according to the course of manner of the signes.

But if any one will constitute these triplicities according to the nature of the Planets, and Figures themselves, let him observe this Rule, that Fortuna major, Rubeus, Puer, and Amissio doe make the fiery triplicity: Fortune minor, Puella, Laetitia and Conjunctio triplicity of the Ayre: Acquisitio, the Dragons taile, Via, and Populus doe governe the watry triplicity; and the earthly triplicity is ruled by Carcer, Tristitia, Albus, and the Dragons head. And this way is rather to be observed then the first which we have set forth; because it is constituted according to the Rule and manner of the signes.

This order is also far more true and rationall then that which vulgarly is used, which is described after this manner: of the Fiery triplicity are, Cauda, Fortuna minor, Amissio, and Rubeus: of the Airy triplicity are, Acquisitio, Laetitia, Puer, and Conjunctio: of the watry triplicity are, Populus, Via, Albus, and Puella: And Caput, Fortuna major, Carcer, and Tristitia are of the earthly triplicity.

They doe likewise distribute these Figures to the twelve signes of the Zodiak, after this manner, Acquisitio is given to Aries; Fortuna, both major and minor to Taurus; Laetitia to the signe Gemini; Puella and Rubeus to Cancer; Albus is assigned to Leo, Via to Virgo; the Dragons head, and Conjunctio to Libra; Puer is submitted to Scorpio; Tristitia and Amissio are assigned to Sagitary; the Dragons taile to Capricorne; Populus to Aquarius; and Carcer is assigned the signe Pisces.

As it turns out, Agrippa gives three separate ways to associate the elements with the geomantic figures:

  • The first is given at the end of the second paragraph, where Agrippa associates the elements to the figures based on the sign of the Zodiac he gives them.  This largely matches with JMG’s outer element, but note that Agrippa doesn’t give the figures to the signs in a modern planetary method, e.g. giving Cauda Draconis to Scorpio instead of Sagittarius, or Laetitia to Sagittarius instead of Pisces.
  • The second is given in the third paragraph, where Agrippa associates the elements to the figures “according to the nature of the Planets and Figures themselves”, and is not present in JMG’s books.  While Agrippa does not explain the elemental nature of the planets in this text, it doesn’t match with the elemental associations he gives in either book I, chapters 23—29 or book II, chapter 7 of his Three Books of Occult Philosophy.
  • The third is given in the fourth paragraph, where Agrippa gives a “vulgar” system which matches up with JMG’s inner element, noting the swap between Rubeus and Laetitia to Air and Fire, respectively, as JMG noted.

The simultaneous use of two systems of elemental attribution for the figures is an innovation by JMG, and is found nowhere else in the geomantic literature; in almost all cases, a given book on geomancy describes only one system of elemental attribution, and it’s usually the “vulgar” one that Agrippa gives; only after Agrippa’s time do we start to see the rise of the sign-based system.  Interestingly, it’s this same “vulgar” system that Agrippa gives in book II, chapter 48 of his Three Books of Occult Philosophy, with no mention of either the sign-based attribution of the elements or the planet-based attribution of the signs, indicating he either had a change of heart or that Of Geomancy (and the Fourth Book generally) was a spurious text that was only published under his name.

To show which systems were used where in the European geomantic literature, I went through some of my books and texts and came up with the following table showing which author used what elemental rulership system for the figures:

Figure Agrippa
Sign-based
(1655)
Agrippa
Planet-based
(1655)
Agrippa
Vulgar
(1655)
John
Heydon
(1663)
John
Case
(1697)
Robert
Fludd
(1687)
Christopher
Cattan
(1591)
Populus Water Water Water Water Water Water Water
Via Water Water Water Water Water Water Water
Albus Air Earth Water Air Air Water Water
Coniunctio Earth Air Air Earth Earth Air Air
Puella Earth Air Water Air Air Water Water
Amissio Earth Fire Fire Earth Earth Fire Fire
Fortuna Maior Fire Fire Earth Fire Fire Earth Earth
Fortuna Minor Fire Air Fire Air Air Fire Fire
Puer Fire Fire Air Fire Fire Air Air
Rubeus Water Fire Fire Water Water Fire Fire
Acquisitio Water Water Air Fire Fire Air Air
Laetitia Fire Air Air Water Water Air Air
Tristitia Air Earth Earth Air Air Earth Earth
Carcer Earth Earth Earth Earth Earth Earth Earth
Caput Draconis Earth Earth Earth Earth Earth Earth Earth
Cauda Draconis Water Water Fire Fire Fire Earth Fire

In general, including other texts like Pietro d’Abano’s Geomantia (1544) and the anonymous 15th century ce Lectura Geomantiae, geomantic authors typically use Agrippa’s “vulgar” system.  John Case in his “The Angelical Guide Shewing Men and Women Their Lott or Chance in this Elementary Life” uses Agrippa’s sign-based elemental system, though without using Agrippa’s planet-based sign system (instead, Case uses a modified form of the zodiacal attribution system of Gerard of Cremona).  John Heydon in his Theomagia uses Agrippa’s sign-based system (book I, chapters 19 through 21) with some modifications that bring it in line with what’s commonly used in modern times (book I, chapter 5), and upon which the geomantic texts of the Golden Dawn are based.  Interestingly, late though it is, Franz Hartmann’s The Principles of Astrological Geomancy (1889) preserves the older “vulgar” system.  Unfortunately, I couldn’t find much in the way of older sources; what little I have of Hugo of Santalla’s 12th century ce work on geomancy doesn’t mention the elements; Thérèse Charmasson’s “Recherches sur une technique divinatoire: la géomancie dans l’Occident médiéval” (1982) mentions an Arabic method of assigning the figures to the elements, which matches up with the “vulgar” system for the most part with some changes, though I don’t know the provenance of her source for this specific system (with the six figures that don’t match in italics):

  • Fire: Laetitia, Puer, Populus, Fortuna Maior
  • Air: Rubeus, Caput Draconis, Coniunctio, Acquisitio
  • Water: Albus, Via, Cauda Draconis, Amissio
  • Earth: Tristitia, Carcer, Fortuna Maior, Puella

So much for where JMG’s outer vs. inner system came from.  As already mentioned before on this blog, I use the same inner elemental system JMG uses, including the Laetitia/Rubeus elemental swap, as I find that it’s an elegant system that reflects the underlying overall element that represents a geomantic figure; with the exception of Populus, the ruling element of a figure will be active/manifest/present in that figure.   Not only do I find that such a system accurately represents the nature and expression of that figure, the same system also allows for a secondary sub-ruler to be assigned, so that each figure has a primary ruler and a secondary ruler, such that e.g. Amissio is primarily Fire and secondarily Water.  This is an innovation of my own that I have found nowhere else in the geomantic literature, and I find that it helps to give some more insight into the symbolism and nature of the figures.

The only thing I can’t rightly answer regarding the inner element system is the historical attribution of Laetitia to Air and Rubeus to Fire.  I agree with JMG that these two should be switched so as to bring the elements active in these figures in accord with their overall ruling element, and I can’t rightly say why they Laetitia was given to Air and Rubeus to Fire in so many older texts.  It’s a possibility that, perhaps, JMG and I are in the right and this is how the system was originally, but a typo early on got propagated from one text to the next, though that notion seems far-fetched even to me, even if similar typos and mixed-up attributions have happened and been propagated as widely and as long as that (e.g. a common such swap is that of the names of Puer and Puella in texts while keeping the rest of their significations the same, even in Fludd).  If the inner element system was not originally based on the elemental structures of the figures themselves, then I’m at a loss to describe what they would be based on unless it was a Septuagint-like miracle that the interpretations of the figures were so closely aligned to the elemental structures of the figures for so many past geomancers for so long.  In any case, the elemental structure-based system of ruling elements that I use and that JMG uses for his inner elements works well, and has a definite logic and reason for it.

That said, however, I do not use two simultaneous systems of overall ruling elements as JMG uses his inner and outer element systems.  In general, I have three issues with the use of an “outer element” system like how JMG describes it.  The simplest is that I find that it confuses the rulership system of the figures to have two co-ruling elements of a figure.  Unlike having a primary and secondary ruler, JMG has two rulers that are to be used in different contexts, but his distinction between those contexts doesn’t make sense to me.  The notion of a figure expressing itself externally differently from how it expresses itself doesn’t sit well with me, because a figure is single and simple; it doesn’t have an indoor voice and outdoor voice, or comfy at-home pants versus a dressed-up suit for the office; to me, a figure is a figure, and it expresses how it is in the way it is by the virtue of what it is.  Coniunctio’s nature, for instance, is about connection and conjunction and meeting and discussion, all of which are inherently airy things; it doesn’t do so with a mind to bring about earthy results, nor does it become an earthy figure when put next to anything else.  To have two “modes” for interpreting the figures here leads to confusion more than it does clarity, and I haven’t found it to be worth the trouble.

The second issue I have is that JMG’s outer element (or Agrippa’s sign/planet-based assignment) system is reliant on a “man in the middle” between the geomantic figures and the elements we’re trying to associate them with.  Rather than associate the figures directly with the elements, we first assign them to the signs of the Zodiac, and then link the signs of the Zodiac to the elements.  The outer element system has us taking two steps to get to our destination (figure → sign → element) rather than just one step (figure → element), and given the choice between a direct versus indirect assignment method, I’ll always take the direct one.  It’s a slippery slope to take indirect associations, especially when you increase the number of steps, because then you end up Liber 777ing everything to link everything to everything else, which becomes a muddled mess.  Here it’s not so bad, but even still, if you have a direct association available, I’d consider that to be inherently more worthy of consideration than any indirect one.

The third issue I have is the most practical: there are multiple ways of assigning the geomantic figures to the zodiac signs, and therefore there would be multiple ways to assign an outer element to the figures.  While the Agrippa- or Heydon-style method of assigning the figures to the zodiac signs is common in modern practice, even into the modern age, the older system of Gerard of Cremona (which is ultimately based on an early assignment of the figures to the 28 mansions of the Moon) is still seen, and I find that this latter system is much more effective in divination and analysis of the figures than the Agrippa/Heydon method (which itself is based on the assignments of the planets to the figures).  The elements of the signs from the Cremona system do not match with the Agrippa/Heydon system, even if it is a valid “outer element” system according to the reasoning JMG gives; were I to talk about outer elements with someone else who used the Agrippa/Heydon zodiacal system without saying what system I used, this would lead to confusion and bickering that “Albus is a watery figure!” “You’re wrong, it’s an airy one!” “Nuh-uh!” ad nauseam.  By using the inner element system, we sidestep such issues in discussion entirely, as well as reducing the number of systems we’d need to pay attention to; plus, as I’ve mentioned before, using an outer element system at all doesn’t seem particularly worthwhile to me even on its own merits.

So, to summarize all the above, some TL;DR points:

  • Inner element vs. outer element is a distinction only JMG uses.
  • Use the inner element system to understand the rulerships of the figures.
  • The outer element system doesn’t matter (at best) and can get you in trouble (at worst).

Now, all that said, let me answer that last question the forum member on Facebook asked: are such associations irrelevant?  By no means!  Each system of correspondences and attributions to the figures gives us deeper insights into how the figures represent the myriad things of the cosmos and how they play out in interpretation, as well as revealing to us their deeper spiritual meaning on their own.  For the vast majority of such correspondences, each is grounded in deeper systems of logic and reason that tie geomancy into broader systems of occult knowledge; only in a handful of cases are they spurious, and they’re either shown to be wrong with a bit of experimentation and analysis, or are shown to be valid through analysis of repeated results that show a trend to be followed, which can then be used to further enhance and empower the overall system of geomancy as we have it.  Only in a very few cases would something like divine revelation or unverified personal gnosis come into play, and it’d still be recommended to test them out both in divination and against existing systems of correspondence before putting them into practice.

For something as large-scale and encompassing as the elemental rulerships of the figures, especially since it’s based on a thorough analysis of the nature of each figure interpretatively as well as structurally, I would consider this to definitely fall on the relevant and not-spurious side of things, especially given how useful the system is to the analysis of each figure, both as a cosmos unto itself as well as a factor in a divination reading with the other figures.  And, even if you do like using the outer element system, I can only argue against it so much; even if I have my own thoughts and opinions on the subject, I must still admit and agree that it’s important to understand the different associations of the figures regardless of author or method so to get an encompassing understanding of how the figures have been understood across the centuries, and then based on your own experience and studies, pick one that works best for you.

Arranging the Planets as the Geomantic Figures

A few weeks ago, the good Dr Al Cummins and I were talking about geomantic magic.  It’s a sorely understood and understudied aspect of the whole art of geomancy, and though we know geomantic sigils exist, they’re never really used much besides in addition to the usual planetary or talismanic methods of Western magic.  While I’ve been focusing much on the techniques of divination, exploring the use of geomancy and geomantic figures in magical workings is something of a long-term, slow-burn, back-burner thing for me.  Al, on the other hand, has been jumping headlong into experimenting with using geomancy magically (geomagy?), which fascinates me, and which gives us nigh-endless stuff to conjecture and experiment with.  After all, there’s technically nothing stopping us from seeing the geomantic figures as “units” in and of themselves, not just as extensions of planets projected downward or as combinations of elements projected upwards, so seeing how we could incorporate geomancy into a more fuller body of magic in its own right is something we’re both excited to do.

One of these talks involved my use of the geomantic gestures (mudras, or as I prefer to call them, “seals”).  I brought up one such example of using a geomantic seal from a few years ago: I was at the tattoo parlor with a magic-sensitive friend of mine in the winter, and it had just started to snow.  I had to run across the street to get cash, and I decided that it wasn’t that cold (or that I could bear the weather better) to put on my coat.  I was, as it turns out, incorrect, and by the time I got back, I was rather chilled to the bone.  So, in an attempt to kickstart the process of warming back up, I threw the seal for Laetitia and intoned my mathetic word for Fire (ΧΙΑΩΧ). My sensitive friend immediately turned and picked up on what I was doing without knowing how.  I hadn’t really tried that before, but since I associate Laetitia with being pure fire (according to the elemental rulers/subrulers of the figures), I decided to tap into the element of Fire to warm myself up.  Since that point, I use the seals for Laetitia, Rubeus, Albus, and Tristitia as mudras for the elements of Fire, Air, Water, and Earth, respectively, like in my augmentation of the Calling the Sevenths ritual (e.g. in my Q.D.Sh. Ritual to precede other workings or as general energetic/spiritual maintenance).

Talking with Al about this, I came to the realization that I instinctively used the figures to access the elements; in other words, although we consider the figures being “constructed” out of the presence or absence of the elements, from a practical standpoint, it’s the opposite way around, where I use the figures as bases from which I reach the power of the elements.  That was interesting on its own, and something for another post and stream of thought, but Al also pointed out something cute: I use the figures of seven points as my seals for the elements.  This is mostly just coincidence, or rather a result of using the figures with one active point for representing one of the four elements in a pure expression, but it did trigger a conversation where we talked about arranging the seven planets among the points of the geomantic figures.  For instance, having a set of seven planetary talismans, I can use each individually on their own for a single planet, or I can arrange them on an altar for a combined effect.  If the seven-pointed figures can be used for the four elements, then it’d be possible to have elemental arrangements of the planets for use in blending planetary and elemental magic.

So, that got me thinking: if we were to see the geomantic figures not composed of the presence or absence of elements, but as compositions of the planets where each planet is one of the points within a figure, how might that be accomplished?  Obviously, we’d use fiery planets for the points in a figure’s Fire row, airy planets for the Air row, etc., but that’s too broad and vague a direction to follow.  How could such a method be constructed?

I thought about it a bit, and I recalled how I associated the planets (and other cosmic forces) with the elements according to the Tetractys of my mathesis work:

 

Note how the seven planets occupy the bottom two rungs on the Tetractys.  On the bottom rung, we have Mars in the sphaira of Fire, Jupiter in Air, Venus in Water, and Saturn in Earth; these are the four essentially elemental (ouranic) planets.  The other three planets (the Sun, the Moon, and Mercury) are on the third rung, with the Sun in the sphaira of Sulfur, the Moon in the sphaira of Salt, and the planet Mercury in the sphaira of the alchemical agent of Mercury.  Although we lack one force (Spirit) for a full empyrean set of mathetic forces for a neat one-to-one association between the empyrean forces and the four elements, note how these three planets are linked to the sphairai of the elements: the Sun is connected to both Fire and Air, Mercury to both Air and Water, and the Moon to both Water and Earth.

Since we want to map the seven planets onto the points of the figures, let’s start with the easiest ones that give us a one-to-one ratio of planets to points: the odd seven-pointed figures Laetitia, Rubeus, Albus, and Tristitia.  Let us first establish that the four ouranic planets Mars, Jupiter, Venus, and Saturn are the most elementally-representative of the seven planets, and thus must be present in every figure; said another way, these four planets are the ones that most manifest the elements themselves, and should be reflected in their mandatory presence in the figures that represent the different manifestations of the cosmos in terms of the sixteen geomantic figures.  The Sun, the Moon, and Mercury are the three empyrean planets, and may or may not be present so as to mitigate the other elements accordingly.  A row with only one point must therefore have only one planet in that row, and should be the ouranic planet to fully realize that element’s presence and power; a row with two points will have the ouranic planet of that row’s element as well as one of the empyrean planets, where the empyrean planet mitigates the pure elemental expression of the ouranic planet through its more unmanifest, luminary presence.  While the ouranic planets will always appear in the row of its associated element, the empyrean planets will move and shift in a harmonious way wherever needed; thus, since the Sun (as the planetary expression of Sulfur) “descends” into both Mars/Fire and Jupiter/Air, the Sun can appear in either the Fire or Air rows when needed.  Similarly, Mercury can appear in either the Air or Water rows, and the Moon in either the Water or Earth rows (but more on the exceptions to this below).

As an example, consider the figure Laetitia: a single point in the Fire row, and double points in the Air, Water, and Earth rows, as below:

First, we put in the ouranic planets by default in their respective elemental rows:

Note how Mars takes the single point in the Fire row, while Jupiter, Venus, and Saturn occupy only one of the points in the other rows; these three empty points will be filled by the three empyrean planets according to the most harmonious element.  The Moon can appear in either the Earth or Water rows, and Mercury can appear in either the Water or Air rows, but in the case of the figure Laetitia, the Sun can only appear in the Air row, since the Fire row has only one point and is already associated with Mars; thus, in Laetitia, the Sun goes to Air, Mercury to Water, and the Moon to Earth.

Following this rule, we get Rubeus with Jupiter occupying the sole Air point and the Sun moving to the Fire row as the second point, Albus with Venus in the sole Water point and Mercury moving to the Air row, and Tristitia with Saturn in the sole Earth point and the Moon moving to the Water row.

With those done, it would then be easy to see what Via would look like as a collection of planets: just the four ouranic planets Mars, Jupiter, Venus, and Saturn in a straight vertical line, the four purely-elemental ouranic planets without any of the mitigating empyrean ones, since the empyrean planets don’t need to be present to mitigate any of the ouranic ones.

Leaving aside Populus for the moment, what about the five-pointed and six-pointed figures?  In the case of five-pointed figures (e.g. Puer), we have to leave out two of the empyrean planets, and only one in the case of the six-pointed figures (e.g. Fortuna Maior).  For these figures, we decided to break with the foregoing empyrean-to-element rule and institute two new ones for these figures.

For five-pointed figures, use Mercury as the sole empyrean planet for the row with two dots, regardless where it may appear:

For six-pointed figures, use the Sun and Moon as the empyrean planets for the two rows with two dots, regardless where they may appear, with the Sun on the upper double-pointed row and the Moon on the lower double-pointed row:

Note how these two rules give us four figures where the empyrean planets do not appear where we would otherwise have expected them:

  • Fortuna Maior (Sun in Water)
  • Fortuna Minor (Moon in Air)
  • Caput Draconis (Mercury in Fire)
  • Cauda Draconis (Mercury in Earth)

I figured that this departure from the original empyrean-to-elemental-row idea was useful here, since it allows us to emphasize the structure of the figures and respect the natural affinities of the empyrean planets to each other.  The Sun and Moon have always been considered a pair unto themselves as the two luminaries; without one, the other shouldn’t necessarily be present in such a planetary arrangement.  Thus, for the five-pointed figures that omit the Sun and Moon, we would then use only Mercury, as it’s the only empyrean planet available.  Likewise, if either the Sun or Moon is present, the other should also be present; for the six-pointed figures, this means that Mercury is the only empyrean planet omitted.  An alternative arrangement could be used where you keep following the prior rules, such that Fortuna Maior uses the Sun and Mercury, Fortuna Minor uses Mercury and the Moon, etc., but I rather like keeping the Sun and Moon both in or out together.  It suggests a certain…fixity, as it were, in the six-pointed figures and mutability in the five-pointed figures that fits well with their even/objective/external or odd/subjective/internal meanings.

For all the foregoing, I’m torn between seeing whether the order of planets within a row (if there are two) matters or not.  In one sense, it shouldn’t matter; I only assigned the ouranic planets to the right point and the empyreal planets to the left because of the right-to-left nature of geomancy, and coming from a set theory point of view, the order of things in a set doesn’t really matter since sets don’t have orders, just magnitude.  On the other hand, we typically consider the left-hand side of things to be weaker, more receptive, more distant, or more manifested from the right-hand stronger, emitting, near, or manifesting (due, of course, to handedness in humans with the usual connotations of “dexter” and “sinister”), but relying on that notion, I do feel comfortable putting the empyrean planets (if any) on the left-hand points of a figure, with the ouranic planets on the right-hand side, if not the middle.  It’s mostly a matter of arbitrary convention, but it does…I dunno, feel better that way.

So that takes care of the figures of four, five, six, and seven points.  We only have one figure left, the eight-pointed figure Populus.  As usual with this figure, things get weird.  We can’t simply slap the planets onto the points of Populus because we only have seven planets; we’d either need to bring in an extra force (Spirit? Fixed stars? the Earth?) which would necessitate an eighth force which simply isn’t available planetarily, or we’d have to duplicate one of the existing seven planets which isn’t a great idea (though, if that were to be the case, I’d probably volunteer Mercury for that).  However, consider what the figure of Populus represents: emptiness, inertia, void.  What if, instead of filling in the points of the figure Populus, we fill in the spaces left behind by those points?  After all, if Populus is empty of elements, then why bother trying to put planets where there’ll be nothing, anyway?  If it’s void, then put the planets in the voids.  I found it easiest to conceive of seven voids around and among the points of Populus in a hexagram pattern:

Rather than filling in the points of Populus, which would necessitate an eighth planet or the duplication of one of the seven planets, we can envision the seven planets being used to fill the gaps between the points of Populus; seen another way, the planets would be arranged in a harmonic way, and Populus would take “form”, so to speak, in the gaps between the planets themselves.  The above arrangement of suggested points to fill naturally suggests the planetary hexagram used elsewhere in Western magic (note that the greyed-out circles above and below aren’t actually “there” for anything, but represent the voids that truly represent Populus around which the planets are arranged):

Simple enough, but I would instead recommend a different arrangement of planets to represent Populus based on all the rules we have above.  Note how the center column has three “voids” to fill by planets, and there are four “voids” on either side of the figure proper.  Rather than using the standard planetary hexagram, I’d recommend putting the three empyrean planets in the middle, with the Sun on top, Mercury in the middle, and the Moon on the bottom; then, putting Mars and Jupiter on the upper two “voids” with Venus and Saturn on the bottom two “voids”:

Note the symmetry here of the planets in the voids of Populus.  Above Mercury are the three hot planets (the right-hand side of the Tetractys), and below are the three cold planets (the left-hand side of the Tetractys).  On the right side are Mars and Venus together, representing the masculine and feminine principles through Fire and Water; on the left, Jupiter and Saturn, representing the expansive and contracting principles through Air and Earth; above is the Sun, the purely hot unmanifest force among the planets; below is the Moon, the coldest unmanifest force but closest to manifestation and density; in the middle is Mercury, the mean between them all.  Around the planet Mercury in the middle can be formed three axes: the vertical axis for the luminaries, the Jupiter-Venus axis for the benefics, and the Saturn-Mars axis for the malefics.  Note how Mercury plays the role of mean as much as on the Tetractys as it does here, played out in two of the three axes (Sun-Moon on the third rung, and Venus-Jupiter by being the one of the third-rung “parents” of the two elemental sphairai on the fourth rung).  The Saturn-Mars axis represents a connection that isn’t explicitly present on the Tetractys, but just as the transformation between Air and Water (hot/moist to cold/moist) is mediated by Mercury, so too would Mercury have to mediate the transformation between Fire and Earth (hot/dry to cold/dry); this can be visualized by the Tetractys “looping back” onto itself, as if it were wrapped around a cylinder, where the sphairai of Mars/Fire and Saturn/Earth neighbored each other on opposite sides, linked together by an implicit “negative” Mercury.  Further, read counterclockwise, the hexagram here is also related to the notion of astrological sect: the Sun, Jupiter, and Saturn belong to the diurnal sect, while the Moon, Venus, and Mars belong to the nocturnal sect; Saturn, though cold, is given to the diurnal sect of the Sun to mitigate its cold, and Mars, though hot, is given to the nocturnal sect of the Moon to mitigate its heat, with Mercury being adaptable, possesses no inherent sect of its own, but changes whether it rises before or after the Sun.

That done, I present the complete set of planetary arrangements for the sixteen geomantic figures, organized according to reverse binary order from Via down to Populus:

So, the real question then becomes, how might these be used?  It goes without saying that these can be used for scrying into, meditating upon, or generally pondering to more deeply explore the connections between the planets and the figures besides the mere correspondence of rulership.  Magically, you might consider creating and consecrating a set of seven planetary talismans.  Once made, they can be arranged into one of the sixteen geomantic figures according to the patterns above for specific workings; for instance, using the planetary arrangement of Acquisitio using the planetary talismans in a wealth working.  If you want to take the view that the figures are “constructed” from the planets much how we construct them from the elements, then this opens up new doors to, say, crafting invocations for the figures or combining the planets into an overall geomantic force.

However, there’s a snag we hit when we realize that most of the figures omit some of the planets; it’s only the case for five of the 16 figures that all seven planets are present, and of those five, one of them (Populus) is sufficiently weird to not fit any sort of pattern for the rest.  Thus, special handling would be needed for the leftover planetary talismans.  Consider:

  • The five-pointed figures omit the Sun and the Moon.  These are the two visible principles of activity/positivity and passivity/negativity, taking form in the luminaries of the day and night.  These could be set to the right and left, respectively, of the figure to confer the celestial blessing of light onto the figure and guide its power through and between the “posts” of the two luminaries.
  • The six-pointed figures omit the planet Mercury.  Magically, Mercury is the arbiter, messenger, and go-between of all things; though the planetary talisman of Mercury would not be needed for the six-pointed figures, his talisman should be set in a place of prominence at the top of the altar away from the figure-arrangement of the rest of the talismans to encourage and direct the flow of power as desired.
  • The only four-pointed figure, Via, omits all three of the empyrean planets.  As this figure is already about directed motion, we could arrange these three talismans around the four ouranic planetary talismans in the form of a triangle that contains Via, with the Sun beneath the figure to the right, the Moon beneath the figure to the left, and Mercury above the figure in the middle; alternatively, the figure could be transformed into an arrow, with the talisman of Mercury forming the “tip” and the Sun and Moon forming the “arms” of the arrowpoint, placed either on top of or beneath the figure of Via to direct the power either away or towards the magician.

The eight-pointed figure Populus, although containing all seven planets in its arrangement, does so in a “negative” way by having the planets fill the voids between the points proper.  Rather than using the planets directly, it’s the silent voids between them that should be the focus of the works using this arrangement.  As an example, if we would normally set candles on top of the planetary talismans for the other arrangements, here we would arrange the planetary talismans according to the arrangement for Populus, but set up the candles in the empty voids where the points of Populus would be rather than on top of the talismans themselves.

All told, this is definitely something I want to experiment with as I conduct my own experiments with geomantic magic.  Even if it’s strictly theoretical without any substantial ritual gains, it still affords some interesting insights that tie back into mathesis for me.  Though it probably doesn’t need to be said, I’ll say it here explicitly: this is all very theoretical and hypothetical, with (for now) everything here untested and nothing here used.  If you do choose to experiment with it, caveat magus, and YMMV.

Directions of the Geomantic Figures

Recently, someone commented on one of my geomancy-related pages asking about the directions associated with the geomantic figures.  I’m…actually surprised I don’t have a post written about that, and it’s a good topic, so I figured I’d oblige and discuss that briefly.  Like with anything, there are more than one set of correspondences that can be used, depending on what source you’re working from or what techniques you’re using, but it’s not like that’s anything new to someone who’s familiar with the corpus of knowledge for geomancy.

Probably the most straightforward way is to associate the directions with the four elements, as given by Cornelius Agrippa (book II, chapter 7), and use the elemental rulers of the geomantic figures from that.  This results in a simple association:

Direction Element Figures
East Fire Laetitia, Cauda Draconis, Fortuna Minor, Amissio
South Earth Tristitia, Caput Draconis, Carcer, Fortuna Maior
West Air Rubeus, Puer, Coniunctio, Acquisitio
North Water Albus, Puella, Via, Populus

Easy enough, and this is the system I prefer to use myself.  However, I know of at least one other cardinal direction association in Western literature, and this one comes from the great English geomancer Robert Fludd.  Question 21 in book IV of his 1687 work Fasciculus Geomanticus talks about a method to lost or hidden objects.  I have a whole post already discussing this topic, but I figured I’ll quote and translate this particular section from Fludd in full for its own sake, as it offers its own take on finding such things:

Question XXI.
Where might the lost thing lie or be hidden?

The first is given to the querent, the tenth to the thing, and the fourth to the place under consideration.

In addition, another way to know the place of the hidden thing: consider by the fourth figure in which part of the world the thing may be in.  That area is divided from the East to the West [and] from the South to the North, for there the thing will be found, which the fourth figure will demonstrate.  And if that area is too large for the sudden discovery of the hidden thing, it is necessary to again divide that part into four other parts, and so often it is known until what time the place may be sufficiently small for the quick discovery of the hidden thing, and the fourth figure will always be the demonstrator of the place in this manner.

Or, rather, a place is divided into four parts, namely into the East, West, South, and North.  Next, look upon the fourth figure, especially of what element it might be.  For if it is of the Air, this indicates the Eastern part, if of fire the South, if of Water the North, if of Earth the West.  For example:

  • East: Laetitia, Acquisitio, Puer, Coniunctio ([figures of] Air)
  • South: Rubeus, Fortuna Minor, Amissio, Cauda Draconis ([figures of] Fire)
  • West: Fortuna Maior, Caput Draconis, Tristitia, Carcer ([figures of] Earth)
  • North: Populus, Via, Amissio, Albus ([figures of] Water)

When, therefore, you find the fourth, where the thing may be found, you will make a new judgment, and similarly judge by the fourth house as before.  Then, the indicated area is again divided into four equal parts; this method is repeated until the place is reduced into a small or confined space.

While Fludd’s and my elemental associations for the figures differ slightly, the idea is the same: associate the elements with the directions, and use the elemental rulers of the geomancy figures as a basis for knowing their directions.  Another thing to note is his manner of associating the elements with the directions; I haven’t seen this specific manner of associating directions with the elements before, but I have written about different ways to correspond the elements with the directions and how it works for someone internally to their own system.  I prefer the Agrippa-style correspondences, based on the celestial directions of the four cardinal signs of the Zodiac, but your mileage and preferences may vary.  Use the system most appropriate to you.

Another similar system that we know of comes from Arabic geomancy, where we have the following diagram from Arabic MS 2697 from the Bibliothèque nationale in Paris:

Originally used as a method to find water, the idea is fundamentally the same:

  • East: Carcer, Puella, Fortuna Maior, Tristitia
  • South: Acquisitio, Caput Draconis, Rubeus, Coniunctio
  • West: Amissio, Via, Albus, Cauda Draconis
  • North: Populus, Laetitia, Puer, Fortuna Minor

According to E. Savage-Smith M. Smith in their Islamic Geomancy and a Thirteenth-Century Divinatory Device (1980), they describe the method used for this (p. 66):

… Near the location where the item is thought to be, the geomancer is told to make a tableau and then to count how many waters are in it (i.e. to count the figures having a single dot in the third rank and to multiply this number by three).  If less than eight there is nothing there; otherwise, the geomancer should proceed to make a new tableau, after marking the directions of the compass on the ground.  He then counts all the elements in the tableau, multiplying the number of single dots in each rank by the value of the rank [ed. note: 1 for fire, 2 for air, 3 for water, 4 for earth].  the sum is then divided by 128, the remainder divided by 16, that remainder divided by 9, and finally that remainder divided by 4.  If one is left the direction is easy; if two, west; if three, north; and if four south.  The geomancer then faces that direction and draws a square on the ground and follows the same procedure to produce a new tableau, and the numerical process is repeated until one, two, there, or four is left.  Then the geomancer looks a the Mother in the tableau which corresponds to this remainder and locates that figure in the square diagram in the manual … The corresponding position on the square which he has drawn on the ground in front of him determines where the object is.  If it is buried, then the depth can be determined by knowing that the element of fire is assigned the depth of a finger, air the depth of the breadth of a hand, water the length of a cubit, and earth the length of a human body.  The geomancer then looks at the figure of the Mother which was found to be the indicator, counts the ranks containing only one dot, and adds up the corresponding lengths.  Then, using a certain ordering of the figures known as the “taskīn of the letters”, he finds the figure that occupies the same position in the taskīn that the Mother occupied in the tableau.  He counts the ranks of that figure which contain a single dot and adds the corresponding lengths.  Finally, he finds the sum of the number obtained from the Mother and the number found from the figure in the taskīn.  This is the depth at which the object is located.

Definitely an interesting method of finding lost objects, especially when they might actually be buried in the desert, but again, the fundamental idea is the same as Fludd’s (if not a little more ritualized).  Elsewhere in the text, Savage Smith and Smith give another association of the geomantic figures with the directions, this time based on their connections with the lunar mansions (though one that I have a hard time wrapping my head around, and which doesn’t look at all similar to the one inherited by Europe):

Direction Season Lunar Mansion Type Figure
East Spring 4 Rising Laetitia
16, 17 Setting Caput Draconis
6 Rising Acquisitio
7, 8, 9 Rising Coniunctio
South Summer 3 Setting Fortuna Minor
20 Rising Populus
5 Setting Rubeus
21 Rising Puella
West Autumn 4 Setting Tristitia
16, 17 Rising Cauda Draconis
6 Setting Amissio
14, 15 Both Carcer
North Winter 3 Rising Fortuna Maior
13 Both Via
5 Rising Albus
21 Setting Puer

Savage-Smith and Smith go on at length about this system of lunar mansions and how they relate to rising and setting along, but that’s outside the scope of the current post.

Now, in addition to all that, John Michael Greer in his Art and Practice of Geomancy (2009) gives get another set of associations, this time by associating the 16 geomantic figures with the 12 houses of the House Chart, and using the directions for each house.  This uses the minor directions (e.g. east-northeast) and can give much more fine gradations in directional guidance, which is excellent for navigation:

House Direction Figure
1 E Puer, Cauda Draconis
2 ENE Fortuna Maior, Fortuna Minor
3 NNE Albus
4 N Populus, Via
5 NNW Rubeus
6 WNW Tristitia
7 W Puella, Caput Draconis
8 WSW Laetitia
9 SSW Coniunctio
10 S Carcer
11 SSE Amissio
12 ESE Acquisitio

That said, I don’t know where JMG got this set of associations from (or I forgot).  At first glance, they seem tied to the planetary-zodiacal correspondence and linking the signs of the Zodiac to the houses, such that Puella is considered associated with Libra due to its association with Venus, and Libra is the seventh sign, then Puella should be given to the seventh house.  Though JMG uses this planetary-zodiacal correspondence, I prefer the one given by Gerard of Cremona; again, your mileage and methods may vary.  Beyond that, though, I’m not certain where this specific geomantic association came from, and it only seems very loosely tied to the planetary-zodiacal correspondences of the figures.

Hope that helps!  Personally, I prefer to use the simple elemental rulerships of the figures as the key to corresponding directions with them, at least where geomancy and its symbols are considered primary.  For instance, if I’m doing a ritual that uses the geomantic figures as the primary symbols I’m working with, I’ll face the direction associated with that figure’s elemental ruler; if I’m doing a geomantic reading, I’ll use that same direction in location/direction-related queries.  If, however, I’m performing a ritual where the planets or zodiac signs are primary, I’ll face the direction of that celestial thing and use the geomantic figures (if I use them at all) facing that direction.  Context, I suppose, is everything, but for the purposes of divination and geomantic ritual, simpler is better.

Elements in the Geomantic Shield Chart

In the last post on technique, I went over a technique that’s mostly been underdeveloped and underused in Western geomancy, the technique of reading the triads in the Shield Chart, which is basically an expansion of the same technique used to read the Witnesses and Judge applied to the Mothers, Daughters, and their resulting Nieces.  This is a way to get more detail out of the Shield Chart and not let those other 12 figures outside the Court go to waste.  However, between the triads and the Via Puncti, those are pretty much the only methods we have in Western geomancy to read the first 12 figures in the Shield Chart, which is kind of a shame.  Then again, given the West’s focus on astrology and bringing astrology into everything, this shouldn’t be surprised; the field of astrological geomancy and the use of the House Chart is well-explored and has numerous techniques developed to read it.

Geomancy would already be dead if it couldn’t be expanded upon or revitalized with new techniques, and there’s nothing stopping us from trying out new ways to read a geomantic chart so long as these things fit with the general theory and framework of geomancy.  Since the House Chart already has plenty of techniques while the Shield Chart has a dearth of them, let’s try working on the Shield Chart techniques.

First things first: what do we call the “houses” of the Shield Chart?  I personally dislike the word “house” for them, even though I know that’s the term used, but it leads to easy confusion with the houses House Chart, especially given that there are multiple ways to assign the figures from the Shield Chart to the houses of the House Chart.  We could use the term “field” to describe the places where we put the Mothers, Daughters, Nieces, and Court.  After all, houses are built upon fields, right?  Thus, the first field is the place of the First Mother, second field to the Second Mother, and so forth to the sixteenth field to the Sentence.  Alternatively, and perhaps more preferably, we could use the other way of calling them “the first figure”, “the second figure”, and so forth to “the sixteenth figure”.  It’s this latter method I’ll be using the former to describe the individual places of the figures in the Shield Chart; besides, fields and shields go hand-in-hand if you know your heraldry.

So, let’s say we want to inspect the figures of the Shield Chart.  We know we can inspect them in triads, where we look at two parent figures and the child figure they add up to, but we don’t have a way of interpreting the fields on their own just yet.  While figuring out the significations of each field in the chart is a complicated task that rings a bit too strongly of the houses in the House Chart, we can start with something simpler by classifying the fields in other ways.  Probably the way that comes to mind first is using the four elements in ways that fit very closely with other geomantic techniques.  We’d go about this pretty straightforwardly: assign the first field to Fire, the second to Air, the third to Water, the fourth to Earth, and repeat the cycle from there.  Thus:

  1. Field I (First Mother): Fire
  2. Field II (Second Mother): Air
  3. Field III (Third Mother): Water
  4. Field IV (Fourth Mother): Earth
  5. Field V (First Daughter): Fire
  6. Field VI (Second Daughter): Air
  7. Field VII (Third Daughter): Water
  8. Field VIII (Fourth Daughter): Earth
  9. Field IX (First Niece): Fire
  10. Field X (Second Niece): Air
  11. Field XI (Third Niece): Water
  12. Field XII (Fourth Niece): Earth
  13. Field XIII (Right Witness): Fire
  14. Field XIV (Left Witness): Air
  15. Field XV (Judge): Water
  16. Field XVI (Sentence): Earth

Or, presented in a more tabular format:

Mothers Daughters Nieces Court
Fire First First First Right Witness
Air Second Second Second Left Witness
Water Third Third Third Judge
Earth Fourth Fourth Fourth Sentence

This is a method I dimly recall being used in at least some forms of Arabic geomancy (raml), but it’s not hard to see the logic being pretty simple to arrive at.  After all, we assign each of the four rows of each figure to the four elements in the same way, and there are instances of the same logic being used independently by Western geomancers, such as John Case in his 1697 work “The Angelical Guide” (book III, chapter 4).  While this kind of assignment of the elements to the fields of the Shield Chart is pretty straightforward, the real task comes in figuring out what we can do with this kind of thing.

For one, in any given Shield Chart, we can guess that a figure is well-placed in a field that agrees with its own element.  So, for instance, Laetitia (a figure of Fire) present in the fifth field as the First Daughter (a place of Fire) is much stronger than it’d be in the seventh field as the Third Daughter (a place of Water).  In case you’ve forgotten your elements for the figures:

  • Fire: Laetitia, Cauda Draconis, Fortuna Minor, Amissio
  • Air: Rubeus, Puer, Coniunctio, Acquisitio
  • Water: Albus, Puella, Via, Populus
  • Earth: Tristitia, Caput Draconis, Carcer, Fortuna Maior

Generally, what kinds of effects could we assume from the combination of elements from the figure and the field it’s found in?  First, we need to remember that an element in the classical sense is composed of two qualities, heat (hot/cold) and moisture (moist/dry):

Hot Cold
Moist Air Water
Dry Fire Earth

So, we know that Fire and Air share the same heat but different moisture, Fire and Earth share the same moisture but different heat, and Fire and Water share nothing at all in common.  Given this, we can venture the following general schema:

  • Elements of figure and field completely agree: (e.g. Fire and Fire) The figure is empowered and strengthened in a way that allows it to express its nature more completely and forcefully.
  • Elements of figure and field agree in heat and disagree in moisture: (e.g. Fire and Air) The figure is complemented and aided in a rounded way to have aid, but is transformed in the process so that goals and intent change over time to compensate.
  • Elements of figure and field agree in moisture and disagree in heat: (e.g. Fire and Earth) The figure is balanced and stabilized leading to stagnation and cessation of action, but with the potential for future growth that must be unlocked or initiated by an outside force.
  • Elements of figure and field completely disagree: (e.g. Fire and Water) The figure is undone and harmed so as to be weak and powerless, being made to act unwillingly and become something it does not want to be.

Of course, this could be refined by taking the actual elements themselves into account instead of just noting whether their qualities differ or agree, and this should definitely be modified by taking the actual figures themselves into account and whether they’re a parent or a child of another figure.  Thus, although a Fire figure in a Fire field will be benefitted in many of the same ways as a Water figure in a Water field, how that figure will be empowered will change by virtue of the element itself as well as what that element is.  Laetitia as the First Mother (Fire figure and Fire field) will be amply empowered by self-assurance and optimism of one’s own being, while Rubeus as the Second Mother (Air figure and Air field) will be empowered by encouraging lots of activity and discussion in ways that aren’t actually destructive but more of inducing healthy change, like rapid exploration.

In this way, we can get an overall idea of how good or bad a situation is, or how restrained or freely it can become, based on inspecting each of the figures in each of their fields and how the elements of both compare.  If a majority of the figures are in fields that they agree elementally with, then we know that the situation as a whole will be filled with power, freedom, direct activity, and declarations of self.  If a majority of the figures are in fields they disagree with, then much of the situation will be troubled by restraint, red tape, paperwork, coercion, and general weakness.

This technique can be combined with the Via Puncti not only to determine the four root causes of a situation, but also to expand on what exactly is going on with them to cause an issue.  For instance, if in a reading to determine who will win a court case, the Via Puncti Ignis (indicating the root drive or cause) points to Laetitia as the Third Mother, we know that Laetitia is a figure of Fire in a field of Water, indicating that Laetitia here is severely damaged by its placement and cannot act according to how it wants to act.  Thus, we can surmise that the core of the issue is that the court case was started by someone impinging on the rights of happiness and freedom of someone else, and continuing to act freely or joyfully caused problems that led to the court case.

Another way we can use this technique of measuring the elements of fields versus figures can be used in triad interpretation.  Consider the fact that the child figure of any two parents not only shows the result of two parties interacting but also the current state of affairs in a given matter; further, it’s written in endless geomantic texts that the expression of a child figure is modified based on its parents, and vice versa.  If we consider the elements of the Niece figures in their proper fields, we can get another level of interpretation on how that particular triad is evolving.  If the Niece is strengthened in its field, it empowers its parents and makes the whole Triad more favorable or easier to deal with; if the Niece is weakened, it debilitates the triad and makes it harder to deal with.  Thus, consider two examples for the First Triad:

  1. Say we have the figures Fortuna Minor (First Mother), Coniunctio (Second Mother), and Amissio (First Niece).  We know that the elements of the Mothers agree with their fields (Fire figure in Fire field, Air figure in Air field) but that the element of the Niece disagrees with its field (Water figure in Fire field).  In this case, because the Niece is so impeded elementally, it shows that the interaction of its Mothers really isn’t nearly as good as it’d seem; we might say that the querent was doing more-or-less fine, but having to deal with interaction and communicating to people is actually causing them more issues than its worth, causing them to lose their fortune instead of just cutting losses.  Fortuna Minor isn’t a bad figure, and it’s always better to cut your losses, but it can be tricky to deal with, and when handled badly, you not only lose what you can afford but you lose what you want to keep.  Thus, because the Niece here is so debilitated elementally, it holds back the otherwise powerful significations of its Mothers.
  2. Say we have the figures Fortuna Minor (First Mother), Albus (Second Mother), and Cauda Draconis (First Niece).  Fortuna Minor as First Mother is a good placement (Fire figure in Fire field), that Albus as Second Mother isn’t horrible (Water figure in Air field), and that Cauda Draconis as First Niece is also a good placement (Fire figure in Fire field).  Normally, this combination of figures would indicate some sort of calamity or accident befalling the querent leading them to become distant, detached, and removed from activity, but Cauda Draconis is well-suited to being here, turning its normally horrible indication to something easier to deal with.  Thus, we might surmise that the querent was gearing down from fast-paced activity, finally and capably brought things to a reasonable end, and can now rest on their laurels and act as a mentor if they act at all.  Because the Niece is so empowered and ennobled here, it empowers and benefits the normally awkward or painful indications of its Mothers and its Triad generally.

In fact, when we look at the Triads generally, we can mark each triad by the Niece involved in each.  Going by the same right-to-left association of fields with the elements, we can do the same with the four Triads: the First Triad can be given the elemental quality of Fire, the Second Triad to Air, the Third Triad to Water, and the Fourth Triad to Earth; these are the same elemental significations of the fields of the Nieces involved in each Triad.  Thus, we can not only interpret Triads elementally now, but can also see how certain figures would be better off in a particular situation based on how well the element of a figure agrees with its triad as well as its field.

On that note, could we do a similar kind of elemental association of the Court?  The Court, after all, is just another triad, but it’s not one of the four triads that Robert Fludd talks about (or invented?).  Well, if you consider all steps of addition in the Shield Chart to be a Triad, then if we go right-to-left and top-to-bottom, then we have eight triads total:

  1. First Triad: First Mother + Second Mother = First Niece
  2. Second Triad: Third Mother + Fourth Mother = Second Niece
  3. Third Triad: First Daughter + Second Daughter = Third Niece
  4. Fourth Triad: Third Daughter + Fourth Daughter = Fourth Niece
  5. Fifth Triad: First Niece + Second Niece = Right Witness
  6. Sixth Triad: Third Niece + Fourth Niece = Left Witness
  7. Seventh Triad: Right Witness + Left Witness = Judge
  8. Eighth Triad: Judge + First Mother = Sentence

Thus, if the first four triads are assigned to the elements in the usual order, we can do the same for the latter four triads: Fifth Triad to Fire, Sixth Triad to Air, Seventh Triad to Water, and Eighth Triad to Earth.  However, these “extra” or “minor” triads are of considerably less importance in terms of being “triads” than the first four, as the Court should be thought of as a little removed from the details and actors and focused more on overall action and results.  Still, the interpretation of these extra triads-qua-triads could be something for other geomancers to try out and see if they get any more useful information that couldn’t be obtained from the four triads and the Court.