On the Structure and Operations of the Geomantic Figures

When I did my recent site redesign and added all those new pages on prayers, rituals, and whatnot, I also consolidated a few pages into ones that fit neatly together, and got rid of a few entirely that didn’t need to be on here anymore.  There weren’t many of those, to be fair, but the main casualties of that effort were my handful of pages on geomancy.  While it may seem odd that I, of all people, would take down pages on the art I love so much, it was partially because I’m continuing to prepare for my book and wanted to rewrite and incorporate the information of those pages in a better way than what was presented there, and partially because the idea for those pages has long since turned stale; I was going to have an entire online “book” of sorts, but I figure that I’ve written enough about geomancy on my blog that it’s probably easier to just browse through the geomancy category and read.  So, if you end up finding a broken link (which I do my utmost to keep from happening), chances are you’re seeing a relic of an earlier age on this blog that connected to those pages.  After all, even though I’d like to keep my blog in perfect running order, I’m also not gonna scroll through 600-odd posts and comb through each and every link.

One of the things that those lost geomancy pages discussed was the mathematical operations of the figures.  I’ve talked about the mathematics behind the Judge and the Shield Chart before, as well as the Parts of Fortune and Spirit, and I’ve discussed a sort of “rotary function” that rotates the elemental rows up and down through the figures before, but there are three big mathematical operations one can do on the figures themselves that reveal certain relationships between them.  I mention them on my De Geomanteia posts of the figures themselves, though now that the original page that describes them is down, I suppose a new post on what they are is in order, if only to keep the information active, especially since every now and then someone will come asking about them.  This is important, after all, because this information is definitely out there, but it’s also largely a result of my own categorization; I haven’t seen anyone in the Western literature, modern or ancient, online or offline, talk about the mathematical relationships or “operations” between the figures in the way I have, nor have I seen anyone talk about one of the operations entirely, so this post is to clear up those terms and what they signify.

First, let me talk about something tangentially related that will help with some of the operation discussion below.  As many students of geomancy are already aware, a common way to understand the figures is in terms of their motion, which is to say, whether a figure is stable or mobile.  Structurally speaking, stable figures are those that have more points in the Fire and Air rows than in the Water and Earth rows (e.g. Albus), and mobile figures are those that have more points in the Water and Earth rows than in the Fire and Air rows (e.g. Puer).  In the cases where the top two rows have the same number of points as the bottom two rows (e.g. Amissio or Populus), the figures are “assigned” a motion based on their general effects.

  • Stable figures: Populus, Carcer, Albus, Puella, Fortuna Maior, Acquisitio, Tristitia, Caput Draconis
  • Mobile figures: Via, Coniunctio, Rubeus, Puer, Fortuna Minor, Amissio, Laetitia, Cauda Draconis

Stable figures are generally seen as graphically looking like they’re “sitting upright” when viewed from the perspective of the reader, while mobile figures are considered “upside down” or “unbalanced” when read the same way.  In a similar sense, stable figures generally have effects that are slow to arise and long to last, while mobile figures are just the opposite, where they’re quick to happen and quick to dissipate.  Consider mobile Laetitia: a figure of optimism, elevation, hope, and bright-burning joy, but it’s easy to lose and hard to maintain.  This can be contrasted with, for instance, stable Tristitia: a figure of slow-moving depression, getting stuck in a rut, languishing, and losing hope.

The idea of motion, I believe, is a simplification of an older system of directionality, where instead of there being two categories of figures, there are three: entering, exiting, and liminal.  All entering figures are stable, all exiting figures are mobile, and the liminal figures are considered in-between:

  • Entering figures: Albus, Puella, Fortuna Maior, Acquisitio, Tristitia, Caput Draconis
  • Exiting figures: Rubeus, Puer, Fortuna Minor, Amissio, Laetitia, Cauda Draconis
  • Liminal figures: Populus, Via, Carcer, Coniunctio

In this system, entering figures are seen as “bringing things to” the reader or reading, and exiting figures “take things away from” the reader or reading, while liminal figures could go either way or do nothing at all, depending on the situation and context in which they appear.  For instance, consider Acquisitio, the quintessential entering figure, which brings things for the gain of the querent, while exiting Amissio is the opposite figure of loss, taking things away, and all the while liminal Populus is just…there, neither bringing nor taking, gaining nor losing.

The liminal figures also serve another purpose: they are also sometimes called “axial” figures, because by taking the upper or lower halves of two axial figures, you can form any other figure.  For instance, the upper half of Populus combined with the lower half of Via gets you Fortuna Maior, the upper half of Coniunctio with the lower half of Carcer gets you Acquisitio, and so forth.  This way of understanding the figures as being composed of half-figures is the fundamental organization of Arabic-style geomantic dice:

Entering figures, like stable figures, look like they’re “coming towards” the reader, while exiting figures look like they’re “going away” from the reader, much like mobile figures.  The reason why the liminal figures (“liminal” meaning “at the threshold”) are considered in-between is that they look the same from either direction, and are either going both ways at once or going in no direction at all.  Populus and Carcer went from liminal to stable due to their long-lasting effects of stagnation or being locked into something, while Via and Coniunctio went from liminal to mobile for their indications of change, movement, and freedom.

Alright!  With the basic structural talk out of the way, let’s talk about operations.  In essence, I claim that there are three primary operations one can do on a figure to obtain another figure, which may or may not be the same as the original figure.  These are:

  • Inversion: replace the odd points with even points, and even points with odd points.  For instance, inverting Puer gets you Albus.
  • Reversion: flip the figure vertically.  For instance, inverting Puer gets you Puella.
  • Conversion: invert then revert the figure, or revert and invert the figure.  For instance, converting Puer gets you Rubeus (Puer →Albus → Rubeus to go the invert-then-revert route, or Puer → Puella → Rubeus to go the revert-then-invert route).

In my De Geomanteia posts, I briefly described what the operations do:

  • Inversion: everything a figure is not on an external level
  • Reversion: the same qualities of a figure taken to its opposite, internal extreme
  • Conversion: the same qualities of a figure expressed in a similar manner

And in this post on a proposed new form of Shield Cart company based on these operations, I described these relationships in a slightly more expanded way:

  • Inversion: The two figures fulfill each other’s deficit of power or means, yet mesh together to form one complete and total force that will conquer and achieve everything that alone they could not.
  • Reversion: The two figures are approaching the same matter from different directions and have different results in mind, looking for their own ends, but find a common thing to strive for and will each benefit from the whole.
  • Conversion: The two figures are similar enough to act along the same lines of power and types of action, but express it in completely different ways from the outside.  Internally, the action and thoughts are the same, but externally, they are distinct.  Think bizarro-world reflections of each other.

These trite descriptions are a little unclear and, now that several years have passed, I realize that they’re probably badly phrased, so it’s worth it to review what these relationships are and how they tie into other conceptions of figure relationships.  After all, inversion and reversion both deal with the notion of something being a figure’s opposite, but we often end up with two separate “opposites”, which can be confusing; and, further, if you take the opposite of an opposite, you get something similar but not quite the same (inversion followed by reversion, or vice versa, gets you conversion).

To my mind, inversion is the most outstanding of the operations, not because it’s any more important than the others, but because it’s so radical and fundamental a change from one figure to the other.  To invert a figure, simply swap the points with their opposites: turn the odd points even and the even points odd.  You could say that you’re turning a figure into its negative, I suppose, like flipping the signs, levels of activity, or polarity of each individual element.  Most notably, the process of inversion is the only one that we can perform through simple geomantic addition of one figure with another; to invert a figure, simply add Via to it, and the result will be that figure’s inversion.  Because inversion is simply “just add Via”, this is probably the easiest to understand: inverting a figure results in a new figure that is everything the original figure isn’t.  We turn active elements passive and passive elements active, male into female and female into male, light into dark and dark into light.  What one has, the other lacks; what one forgets, the other remembers.

So much for inversion.  Reversion is as simple as inversion, but there’s no “just add this figure” to result in it; it’s a strictly structural transformation of one figure based on that figure’s rows.  To be specific and clear about it, to revert a figure, you swap the Fire and Earth lines, as well as the Air and Water lines; in effect, you’re turning the figure upside down, so that e.g. Albus becomes Rubeus or Caput Draconis becomes Cauda Draconis.  Note that unlike inversion where the invert of one figure is always going to be another distinct figure, there are some figures where the reversion is the same as the original figure; this is the case only for the liminal figures (Populus, Via, Carcer, Coniunctio), since rotating them around gets you the same figure.  By swapping the points in the lines of the elements that agree with each other in heat (dry Fire with dry Earth, and moist Air with moist Water), you get another type of opposite, but rather than it playing in terms of a strict swap of polarity like from positive to negative, you literally turn everything on its head.

Both inversion and reversion get you an “opposite” figure, but there are different axes or scales by which you can measure what an “opposite” is.  As an example, consider Puer.  If you invert Puer, you get Albus; this is an opposite in the sense that the youthful brash boy with all the energy in the world is the “opposite” of the wise old man without energy.  What Puer has (energy), Albus lacks; what Albus has (experience), Puer lacks.  On the other hand, if you revert Puer, you get Puella; this is another kind of opposite in the sense that the masculine is the opposite of the feminine.  What Puer is (masculine, active, emitting), Puella isn’t (feminine, passive, accepting).  This type of analysis, where inversion talks about “has or has not” and reversion talks about “is or is not” is the general rule by which I understand the figures, and holds up decently well for the odd figures.  It’s when you get to the even figures that this type of distinction between the operations by means of their descriptions collapses or falls apart:

  • For non-liminal even figures, the inversion of a figure is the same as its reversion.  Thus, “is” is the same thing as “has”.  For instance, Acquisitio is the total opposite of Amissio, since they are both reversions and inversions of each other; gain both is not loss and loss does not have gain.
  • For liminal even figures, the reversion of a figure is the same figure as itself.  Thus, “has” makes no sense, because the figure isn’t speaking to anything one “has” or “lacks” to begin with.  For instance, Carcer’s reversion is Carcer; Carcer is imprisonment and obligation, it doesn’t “have” a quality of its own apart from what it already is.  On the other hand, Carcer’s inversion, what Carcer is not, is Coniunctio, which is freedom and self-determination.  Again, Coniunctio describes a state of being rather than any quality one has or lacks.

Between inversion and reversion, we can begin to understand the pattern of how the babalawos of Ifá, the West African development and adaption of geomancy to Yoruba principles and cosmology, organize their sixteen figures, or odu:

Rank Latin Name Yoruba Name Relationship
1 Via Ogbe inversion
2 Populus Oyẹku
3 Coniunctio Iwori inversion
4 Carcer Odi
5 Fortuna Minor Irosun inversion-
reversion
6 Fortuna Maior Iwọnrin
7 Laetitia Ọbara reversion
8 Tristitia Ọkanran
9 Cauda Draconis Ogunda reversion
10 Caput Draconis Ọsa
11 Rubeus Ika reversion
12 Albus Oturupọn
13 Puella Otura reversion
14 Puer Irẹtẹ
15 Amissio Ọsẹ inversion-
reversion
16 Acquisitio Ofun

With the exception of the even liminal figures, which are grouped in inversion pairs at the beginning of the order, it can be seen that the other figures are arranged in reversion pairs, with the even non-liminal figures grouped in what is technically either inversion or reversion, but which are most likely considered to just be reversions of each other.  Note how the non-liminal even figure pairs are placed in the order: they separate the strict-inversion pairs from the strict-reversion pairs, one at the start of the strict-reversion pairs and one at the end.  While it’s difficult to draw specific conclusions from this alone (the corpus of knowledge of odu is truly vast and huge and requires years, if not decades of study), the placement of the figures in this arrangement cannot be but based on the structure of the figures in their inversion/reversion pairs.

In another system entirely, Stephen Skinner describes some of the relationships of figures in Arabic geomancy in his book “Geomancy in Theory and Practice”, at least as used in some places in northern Africa, where the relationships are described in familial terms and which are all seemingly based on inversion:

  • Man and wife
    • Tristitia and Cauda Draconis
    • Laetitia and Caput Draconis
    • Albus and Puer
    • Puella and Rubeus
    • Coniunctio and Carcer
  • Brothers
    • Fortuna Minor and Fortuna Maior
    • Acquisitio and Amissio
  • No relation
    • Via and Populus

Stephen Skinner doesn’t elaborate on what “man and wife” or “brothers” means for interpreting the figures, but if I were to guess and extrapolate on that small bit of information alone (which shouldn’t be trusted, especially if someone else knowledgeable in these forms of geomancy can correct me or offer better insight):

  • For figures in “man and wife” pairings, the first figure is the “husband” and the second figure is the “wife”.  Though I personally dislike such an arrangement, it could be said that the husband figure of the pair dominates the wife figure, and though they may share certain similarities that allow for them to be married in a more-or-less natural arrangement, the husband figure is more powerful, domineering, overcoming, or conquering than the wife figure.  The central idea here is that of domination and submission under a common theme.
  • For figures in “brothers” pairings, the figures are of equal power to each other, but are more opposed to each other than in harmony with each other, though they form a different kind of complete whole.  Thus, they’re like two brothers that fight with each other (in the sense of one brother against the other) as well as with each other (in the sense of both brothers fighting against a third enemy).  The central idea here is that of oppositions and polarity that form a complete whole.
  • For the two figures that have no relation to each other, Via and Populus, this could be said that they are so completely different that they operate in truly different worlds; they’re not just diametrically opposed to each other to form a whole, nor is one more dominant over or submissive to the other in the same theme, but they’re just so totally and completely different that there is no comparison and, thus, no relationship.

Of course, all that is strictly hypothetical; I have nothing else to go on besides these guesses, and as such, I don’t use these familial relationships in my own understanding of the figures.  However, these are all indicative ways of how to view “opposites”, and is enlightening on its own.  However, note the specific figures in each set of relationships.  With the exception of Coniunctio and Carcer, all the husband-wife pairs are odd figures, so the only possible relationship each figure could have in their pair is inversion.  For the brother pairs, however, these are the even non-liminal figures, where the figures could be seen as either inversions or reversions of each other.  This could well be a hint at a difference between the meanings of inversion and reversion in an African or Arabic system of understanding the figures.

Alright, so that all deals with inversion and reversion, which leaves us with one final operation.  Conversion, as you might have gathered by now, is just the act of performing inversion and reversion on a figure at the same time: you both swap the parity of each row, and rotate the order of the row upside down (or vice versa, it’s the same thing and doesn’t matter).  In a sense, you’re basically taking the opposite of an opposite, but you’re not necessarily going from point A to point B back to point A; that’d just be inverting an inversion or reverting a reversion.  Rather, by applying both operations, you end up in a totally new state that is at once familiar while still being different.  For instance, consider Puella.  Puella’s conversion is Albus, and at first blush, it doesn’t seem like there’s much in similarity between these two figures except, perhaps, their ruling element (Water, in this case).  But bear in mind that both Puella and Albus don’t like to act, emit, or disturb things; Puella is the kind, welcoming hostess who accepts and nurtures, while Albus is the kind, wizened old man who accepts and guides.  Neither of them are chaotic, violent, energetic, or brash like Puer or Rubeus, and while they don’t do things for the same reason or in the same way, they end up doing things that are highly similar, like the same leitmotif played in a different key.

However, this is a little weird for the liminal figures, because a liminal figure’s reversion is the same as itself; this means that a liminal figure’s conversion is the same as its inversion (because the reversion “cancels out”).  Thus, converting Populus gets you Via, and converting Carcer gets you Coniunctio.  While these are clearly opposites of each other, it speaks to the idea that there’s a sort of “yin in the yang, yang in the yin” quality to these figure pairs.  This is best shown by Populus, which is pure potential with all activity latent and waiting to be sprung, and Via, which is pure activity but taken as a whole which doesn’t, on the whole, change.  Likewise, you can consider Carcer to be restriction of boundaries, but freedom to act within those set parameters, and Coniunctio, which is freedom of choice, but being constrained by the choices you make and the paths you take.

It’s also a little weird for the non-liminal even figures, because the reversion of these figures is the same as its inversion, which means that the conversion of an non-liminal even figure gets you that same figure itself.  While the “opposite of an opposite” of odd figures takes you from point A to B to C to D, the nature of the non-liminal even figures takes you from point A to B right back to A.  This reflects the truly is-or-is-not nature of these figures where there’s only so many ways you can view or enact the energies of what they represent: either you win or you lose, either you gain or you lose.  You might not win using the same strategy as you expected to use, but winning is winning; you may not get exactly what you thought you were after, but you’re still getting something you needed.

With these three operations said, I suppose it’s appropriate to have a table illustrating the three results of these operations for each of the sixteen figures:

Figure Inversion Reversion Conversion
Populus Via Populus Via
Via Populus Via Populus
Albus Puer Rubeus Puella
Coniunctio Carcer Coniunctio Carcer
Puella Rubeus Puer Albus
Amissio Acquisitio Acquisitio Amissio
Fortuna Maior Fortuna Minor Fortuna Minor Fortuna Maior
Fortuna Minor Fortuna Maior Fortuna Maior Fortuna Minor
Puer Albus Puella Rubeus
Rubeus Puella Albus Puer
Acquisitio Amissio Amissio Acquisitio
Laetitia Caput Draconis Tristitia Cauda Draconis
Tristitia Cauda Draconis Laetitia Caput Draconis
Carcer Coniunctio Carcer Coniunctio
Caput Draconis Laetitia Cauda Draconis Tristitia
Cauda Draconis Tristitia Caput Draconis Laetitia

Looking at the table above, we can start to pick out certain patterns and “cycles” of operations that group certain figures together:

  • A figure maintains its parity no matter the operation applied to it.  Thus, an odd figure will always result in another odd figure through any of the operations, and an even figure will always yield another even figure.
  • A figure added to its inverse will always yield Via.
  • A figure added to its reverse will always yield one of the liminal figures.
  • A figure added to its converse will always yield another of the liminal figures, which will be the inverse of the sum of the original figure and its reverse.
  • If the figure is odd, then its inversion, reversion, and conversion will all be unique figures, but each figure can become any of the others within a group of four odd figures through another operation.
  • If the figure is even and liminal, then its reversion will be the same as the original figure, while its inversion and conversion will be the same figure and distinct from the original.
  • If the figure is even and not liminal, then its inversion and reversion will be the same figure and distinct from the original, while its conversion will be the same as the original figure.

The odd figures are perhaps most interesting to analyze in their operation groups.  Note that the four figures that result from the operations of a single odd figure (identity, inversion, reversion, and conversion) all, at some point, transform into each other in a neverending cycle, and never transform in any way into an odd figure of the other cycle.  More than that, we can break down the eight odd figures into two groups which have these operational cycles, or “squadrons”, one consisting of Puer-Albus-Puella-Rubeus and the other of Laetitia-Caput Draconis-Cauda Draconis-Tristitia:

Note that the Puer squadron has only figures of Air (Puer and Rubeus) and Water (Puella and Albus), while the Laetitia squadron has only Fire (Laetitia and Cauda Draconis) and Earth (Tristitia and Caput Draconis), and that the converse of one odd figure yields another odd figure of the same element.  Coincidentally, it was this element-preserving property of conversion that led me to the Laetitia-Fire/Rubeus-Air correspondence, matching with the elemental system of JMG and breaking with older literature in these two figures.  More numerologically, also note how each squadron has two figures with seven points and two figures with five points; this was marked as somewhat important in how I allotted the figures to planetary arrangements before, but it could also be viewed under an elemental light here, too.  If each squadron has two figures of the pure elements (Albus and Rubeus in the Puer squadron, Laetitia and Tristitia in the Laetitia squadron), then the converse of each would be the harmonic opposite of the pure element according to their subelemental ruler::

  • Laetitia (pure Fire) converts to/harmonizes with Cauda Draconis (primarily Fire, secondarily Earth)
  • Rubeus (pure Air) converts to/harmonizes with Puer (primarily Air, secondarily Fire)
  • Albus (pure Water) converts to/harmonizes with Puella (primarily Water, secondarily Fire)
  • Tristitia (pure Earth) converts to/harmonizes with Caput Draconis (primarily Earth, secondarily Air)

On the other hand, now consider the even figures.  Unlike the odd figures, where the same “squadron scheme” applies for two groups, there are actually two such schemes for even figures, each scheme having one pair of figures.  For the liminal even figures, a figure’s inverse is the same as its converse, and its reverse is the original figure.  On the other hand, for the even entering/exiting even figures, a figure’s inverse is the same as it’s reverse, and its converse is the original figure:

Due to how the squadrons “collapse” from groups of four into groups of two for the even figures, the same elemental analysis of harmonization can’t be done for the even figures as we did above for the odd figures.  However, it’s also important to note that each element has four figures assigned to it, two of which are odd (as noted above) and two of which are even:

  • Fire: Fortuna Minor (primarily Fire, secondarily Air), Amissio (primarily Fire, secondarily Water)
  • Air: Coniunctio (primarily Air, secondarily Water), Acquisitio (primarily Air, secondarily Earth)
  • Water: Via (primarily Water, secondarily Air), Populus (primarily Water, secondarily Earth)
  • Earth: Carcer (primarily Earth, secondarily Fire), Fortuna Maior (primarily Earth, secondarily Water)

By looking at the inverse relationships of the even figures (which is also converse for liminal figures and reverse for non-liminal figures), we can also inspect their elemental relationships:

  • Carcer (primarily Earth, secondarily Fire) inverts to Coniunctio (primarily Air, secondarily Water).  Both the primary and secondary elements of each figure are the opposite of the other, making these two figures a perfect dichotomy in every way.
  • Via (primarily Water, secondarily Air) inverts to Populus (primarily Water, secondarily Earth).  Though both these figures share the same primary element, the secondary elements oppose each other.  In a sense, this is a more bland kind of opposition that Carcer and Coniunctio show.
  • Acquisitio (primarily Air, secondarily Earth) inverts to Amissio (primarily Fire, secondarily Water).  Unlike Carcer and Coniunctio, and despite that these figures are reversions-inversions of each other, their elemental natures complement each other in both their primary and secondary rulers by heat, as Air and Fire (primary rulers) are both hot elements, and Earth and Water (secondary rulers) are both cold elements.
  • Fortuna Maior (primarily Earth, secondarily Water) inverts to Fortuna Minor (primarily Fire, secondarily Air).  Similar to Acquisitio and Amissio, these two figures are reversions-inversions of each other, but their elemental natures complement each other in moisture, as Earth and Fire (primary rulers) are both dry elements, and Water and Air (secondary elements) are both moist elements).

Note that Carcer and Coniunctio along with Via and Populus (the liminal figures) show a more rigid opposition between them based on their inversion pairs than do Acquisitio and Amissio along with Fortuna Maior and Fortuna Minor (the non-liminal even figures).  Liminality, in this case, shows a forceful dichotomy in inversion, while actually possessing motion suggests completion of each other in some small way.  In this post I wrote on how the natures of the elements complement or “agree” each other based on the element of figure and field in the Shield Chart, these could be understood to say something like the following:

  • Disagree (Carcer and Coniunctio, Via and Populus): Undoing and harm to the point of weakness and powerlessness, force and constriction from one into the other unwillingly.  This is more pronounced with Carcer and Coniunctio than it is Via and Populus, since Via and Populus still agree in the more important primary element, in which case this is more a complete undoing for strength rather than weakness, an expression of transformation into an unknown opposite rather than a forced march into a known but undesired state.
  • Agree in heat (Acquisitio and Amissio): Completion and aid to both, but transformation in the process for complete change in goals and intent.
  • Agree in moisture (Fortuna Maior and Fortuna Minor): Balance and stabilization that lead to stagnation and cessation of action, but with potential that must be unlocked or initiated.

Admittedly, this post took a lot longer to write than I anticipated, largely because although the mathematics behind the operations is pretty easy to understand, the actual meaning behind them is harder to nail down, and is largely a result of introspection and reflection on the figures involved in these operations.  For my own part, I don’t claim that my views are the be-all-end-all of these mathematical or structural relationships between the figures, and I would find this a topic positively begging for more research and meditation by the geomantic community as a whole, not just to flesh out more of the meanings and the relationships of the figures themselves, but also how they might be applied in divination as part of divinatory technique rather than just symbolism, like how I suggested using them for a mathematical/structural form of Shield Chart company.

So, what about you?  Do you think anything of these operation-based relationships of the figures?  Are there any insights you’d be willing to share regarding these operations and relationships?  Is there anything you can thread together from the observations I’ve made above that makes things flow better or fit together more nicely?  Feel free to share in the comments!

On Using Apps for Generating Randomness

Not too long ago, someone commented on my blog who’s learning geomancy about what methods can be used for generating the figures.  Personally, after getting my bearings with the traditional stick-and-surface method (which I recommend everyone beginning geomancy to use until they get the “feel” of the system down, as if it were a type of initiatory practice on its own), I either use cards or dice.  Dice divination, especially, is flexible and polyvalent, and I use it for both geomancy, grammatomancy, and other systems of divination as the need strikes me, and not only are they easy to use, they’re also highly portable and compact as a tool.

The issue (well, not “issue” per se) came up in this conversation when the commenter mentioned using an app to generate the Mothers as a whole, or a random number generator to generate numbers with which to reduce into the Mothers.  This particular commenter isn’t alone in using an app for this; I know of other geomancers who use apps to generate Mothers, either as whole figures or as numbers for the rows of the figures.  A feeling of guilt was mentioned, since the commenter hasn’t read accounts of geomancers using apps or seen videos with such apps being used, but I dismissed that feeling because it’s definitely a thing for some geomancers.

Of course, it should be emphasized that it’s only some geomancers who do that, with “some” being the operative word.  It’s not a common thing; most geomancers I know use some sort of tools, with few just using raw numbers pulled from some source or other.  I know it can be a thing for Arabic geomancers to use the Dairah-e-Abdah enumeration of the figures and tell their querents to give them four random numbers from 1 to 16 and using the figures associated with those numbers for the Mothers, but that’s not really a thing in Western geomancy because we don’t really have an equivalent enumeration system for the figures.  Instead, when Western geomancers use automatic Mother generators at all, it’s often with dice-rolling apps or similar random number applications.

Personally, I don’t like using them.  I’m a tangible person, and I prefer tangible tools I can hold, wield, throw, and manipulate with my hands.  For me, I am as physical a person as I am a spiritual one; my body is a tool unto itself, and by using my body to interact with physical things, I can just as easily interact with their spiritual counterparts and ethereal symbol-referents.  Plus, the use of tools helps me get into the right headspace, that light trance state where I can focus purely on the query and act of divination, which I find is essential to getting good results in my readings.  That’s one of the reasons why I can’t exhort new students to use the stick-and-surface method of divination enough, because it helps inculcate the ability to enter that trance state and allows them to tap into it at a moment’s need using any sort of tool or trigger.

Is such a state necessary for all diviners?  I suppose not, though it certainly doesn’t hurt.  I know that I like doing it, and I’ve found that my focus is weakened, my interpretations more vague, my ability to tap into a situation less refined, and my understanding of the symbols in a reading gets a little slower without sufficient mental preparation which, for me, is aided by the manipulation of physical tools.  For that reason, I don’t use apps or other tools to generate figures for me, because it doesn’t do anything for me to help with entering that divinatory headspace.  Pressing a button and reading figures off a screen, or clicking something and then reducing a bunch of numbers off a web page into dots just…it lacks that connection that I find helpful.

When I generate figures, it’s me who’s the one doing that generation; these figures are “falling from my own hand”, so to speak.  I have that connection with the figures of the reading that allows me to tap into the reading and swim in its currents, dredging up whatever treasures and traps I can from it.  For a similar reason, when someone wants my help with a chart, I don’t just read the chart details they give me; I actually spend the time generating the entire chart from scratch with all the details I need, not only to make sure that the chart was calculated correctly, but also to help me integrate the chart into my own sphere.  Even if I’m not in a trance state for that act (after all, the divination was already done by someone else), the mere act of drawing out the Mothers and the entire rest of the chart helps bring those details to life.  It’s like reciting a litany of prayers; sure, you could just skip to the end or anywhere in the middle you feel is necessary, but the recitation of the entire process from start to end makes everything more potent once you get there.

Plus, as a software engineer, there’s something I’d like to clue you in on.  Most random number generators you use tend to actually be what are called pseudorandom number generators, algorithmic methods that approximate true randomness within acceptable boundaries but which aren’t truly random.  The reason why pseudorandom generators are used is that, for most purposes, they’re random enough to be useful, and are generally easier to develop and faster to produce output than true random generators.  For me, though, I’d rather a true random number generator, which can be harder to find or manipulate.  For that, I might recommend the excellent site RANDOM.ORG, which produces truly random results sequences for many purposes.

Now, that said, if you find that using an app to generate random (or pseudorandom) Mothers, or numbers for reducing into odd or even rows for the Mothers, works for you, then keep using it!  I would still recommend learning a set of tools for geomancy or whatever preferred divination system it is you use, because there may be times you don’t have access to a phone or a computer.  Geomancy benefits from this especially in that all you really need is a pen and paper or a stick and some dirt; even if I don’t like the method, it still works, and it can truly be taken anywhere without having to carry tools of various and sundry types that can set off security gates or the paranoid eyes of watchful passers-by.  Still, if using an app works for you, don’t fix what ain’t broken.  It’s not my preference to use it, but I can’t rightly knock it if it works.

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.

On Geomantic Figures, Zodiac Signs, and Lunar Mansions

Geomantic figures mean a lot of things; after all, we only have these 16 symbols to represent the entire rest of the universe, or, as a Taoist might call it, the “ten-thousand things”.  This is no easy task, and trying to figure out exactly how to read a particular geomantic figure in a reading is where real skill and intuition come into play.  It’s no easy thing to determine whether we should interpret Puer as just that, a young boy, or a weapon of some kind, or an angry person, or head trauma or headaches, or other things depending on where we find it in a chart, what’s around it, what figures generated it, and so forth.

Enter the use of correspondence tables.  Every Western magician loves these things, which simply link a set of things with another set of things.  Think of Liber 777 or Stephen Skinner’s Complete Magician’s Tables or Agrippa’s tables of Scales; those are classic examples of correspondence tables, but they don’t always have to be so expansive or universal.  One-off correspondences, like the figures to the planets or the figures to the elements, are pretty common and usually all we need.

One such correspondence that many geomancers find useful is that which links the geomantic figures to the signs of the Zodiac.  However, there are two such systems I know of, which confuses a lot of geomancers who are unsure of which to pick or when they work with another geomancer who uses another system.

  • The planetary method (or Agrippan method) assigns the zodiac signs to the figures based on the planet and mobility of the figure.  Thus, the lunar figures (Via and Populus) are given to the lunar sign (Cancer), and the solar figures (Fortuna Major and Fortuna Minor) are given to the solar sign (Leo).  For the other planet/figures, the mobile figure is given to the nocturnal/feminine sign and the stable figure to the diurnal/masculine sign; thus, Puella (stable Venus) is given to Libra (diurnal Venus) and Amissio (mobile Venus) is given to Taurus (nocturnal Venus).  This system doesn’t work as well for Mars (both of whose figures are mobile) and Saturn (both of whose figures are stable), but we can say that Puer is more stable that Rubeus and Amissio more stable than Carcer.  Caput Draconis and Cauda Draconis are analyzed more in terms of their elements and both considered astrologically (not geomantically) mobile, and given to the mutable signs of their proper elements.
  • The method of Gerard of Cremona is found in his work “On Astronomical Geomancy”, which is more of a way to draw up a horary astrological chart without respect for the actual heavens themselves in case one cannot observe them or get to an ephemeris at the moment.  He lists his own way to correspond the figures to the signs, but there’s no immediately apparent way to figure out the association.

Thus, the geomantic figures are associated with the signs of the Zodiac in the following ways according to their methods:

Planetary Gerard of Cremona
Populus Cancer Capricorn
Via Leo
Albus Gemini Cancer
Coniunctio Virgo Virgo
Puella Libra Libra
Amissio Taurus Scorpio
Fortuna Maior Leo Aquarius
Fortuna Minor Taurus
Puer Aries Gemini
Rubeus Scorpio
Acquisitio Sagittarius Aries
Laetitia Pisces Taurus
Tristitia Aquarius Scorpio
Carcer Capricorn Pisces
Caput Draconis Virgo Virgo
Cauda Draconis Virgo Sagittarius

As you can see, dear reader, there’s not much overlap between these two lists, so it can be assumed that any overlap is coincidental.

In my early days, I ran tests comparing the same set of charts but differing in how I assigned the zodiac signs to the figures, and found out that although the planetary method is neat and clean and logical, it was Gerard of Cremona’s method that worked better and had more power in it.  This was good to know, and I’ve been using Gerard of Cremona’s method ever since, but it was also kinda frustrating since I couldn’t see any rhyme or reason behind it.

The other day, I was puzzled by how Gerard of Cremona got his zodiacal correspondences for the geomantic figures, so I started plotting out how the Zodiac signs might relate to the figures.  I tried pretty much everything I could think of: looking at the planetary domicile, exaltation, and triplicity didn’t get me anywhere, and trying to compare the signs with their associated houses (Aries with house I, Taurus with house II, etc.) and using the planetary joys of each house didn’t work, either.  Comparing the individual figures with their geomantic element and mobility/stability with the element and quality of the sign (cardinal, fixed, mutable) didn’t get me anywhere.  I was stuck, and started thinking along different lines: either Gerard of Cremona was using another source of information, or he made it up himself.  If it were that latter, I’d be frustrated since I’d have to backtrack and either backwards-engineer it or leave it at experience and UPG that happens to work, and I don’t like doing that.

Gerard of Cremona wrote in the late medieval period, roughly around the 12th century, which is close to when geomancy was introduced into Europe through Spain.  Geomancy was, before Europe, an Arabian art, and I remembered that there is at least one method of associating the geomantic figures with an important part of Arabian magic and astrology: the lunar mansions, also called the Mansions of the Moon.  I recall this system from the Picatrix as well as Agrippa’s Three Books of Occult Philosophy (book II, chapter 33), and also that it was more important in early European Renaissance magic than it was later on.  On a hunch, I decided to start investigating the geomantic correspondences to the lunar mansions.

Unfortunately, there’s pretty much nothing in my disposal on the lunar mansions in the geomantic literature I know of, but there was something I recall reading.  Some of you might be aware of a Arabic geomantic calculating machine, an image of which circulates around the geomantic blogosphere every so often.  Back in college, I found an analysis of this machine by Emilie Savage-Smith and Marion B. Smith in their 1980 publication “Islamic Geomancy and a Thirteenth-Century Divinatory Device”, and I recall that a section of the text dealt with that large dial in the middle of the machine.  Turns out, that dial links the geomantic figures with the lunar mansions!

However, I honestly couldn’t make heads-or-tails of that dial, and neither could Savage-Smith nor Smith; it dealt with “rising” and “setting” mansions that were out of season but arranged in a way that wasn’t temporal but geometrical according to the figures themselves.  Add to it, the set of lunar mansions associated with the figures here was incomplete and didn’t match what Gerard of Cremona had at all.  However, a footnote in their work gave me another lead, this time to an early European geomantic work associated with Hugo Sanctallensis, the manuscript of which is still extant.  A similar manuscript from around the same time period, Paris Bibliothèque Nationale MS Lat. 7354, was reproduced in Paul Tannery’s chapter on geomancy “Le Rabolion” in his Mémoires Scientifiques (vol. 4).  In that text, Tannery gives the relevant section of the manuscript that, lo and behold, associates the 16 geomantic figures with 21 of the lunar mansions:

Lunar Mansion Geomantic figure
1 Alnath Acquisitio
2 Albotain
3 Azoraya Fortuna Maior
4 Aldebaran Laetitia
5 Almices Puella
6 Athaya Rubeus
7 Aldirah
8 Annathra Albus
9 Atarf
10 Algebha Via
11 Azobra
12 Acarfa
13 Alhaire Caput Draconis
14 Azimech Coniunctio
15 Argafra Puer
16 Azubene
17 Alichil Amissio
18 Alcalb
19 Exaula Tristitia
20 Nahaym Populus
21 Elbeda Cauda Draconis
22 Caadaldeba
23 Caadebolach
24 Caadacohot
25 Caadalhacbia Fortuna Minor
26 Amiquedam
27 Algarf Almuehar
28 Arrexhe  Carcer

(NB: I used the standard Latin names for the figures and Agrippa’s names for the lunar mansions, as opposed to the names given in the manuscript.  Corresponding the mansion names in the manuscript to those of Agrippa, and thus their associated geomantic figures, is tentative in some cases, but the order is the same.)

So now we have a system of 21 of the 28 lunar mansions populated by the geomantic figures.  It’d be nice to have a complete system, but I’m not sure one survives in the literature, and one isn’t given by Tannery.  All the same, however, we have our way to figure out Gerard of Cremona’s method of assigning the zodiac signs to the geomantic figures.  Each sign of the Zodiac is 30° of the ecliptic, but each mansion of the Moon is 12°51’26”, so there’s a bit of overlap between one zodiac sign and several lunar mansions.  As a rule, for every “season” of three zodiac figures (Aries to Gemini, Cancer to Virgo, Libra to Sagittarius, Capricorn to Pisces), we have seven lunar mansions divided evenly among them.  If we compare how each sign of the Zodiac and their corresponding geomantic figure(s) match up with the lunar mansions and their figures from Tannery, we get a pretty neat match:

Zodiac Signs and Figures Lunar Mansion and Figures
1 Aries Acqusitio 1 Alnath Acquisitio
2 Albotain
3 Azoraya Fortuna Maior
2 Taurus Fortuna Minor
Laetitia
4 Aldebaran Laetitia
5 Almices Puella
3 Gemini Puer
Rubeus
6 Athaya Rubeus
7 Aldirah
4 Cancer Albus 8 Annathra Albus
9 Atarf
10 Algebha Via
5 Leo Via
11 Azobra
12 Acarfa
6 Virgo Caput Draconis
Coniunctio
13 Alhaire Caput Draconis
14 Azimech Coniunctio
7 Libra Puella 15 Argafra Puer
16 Azubene
17 Alichil Amissio
8 Scorpio Amissio
Tristitia
18 Alcalb
19 Exaula Tristitia
9 Sagittarius Cauda Draconis
20 Nahaym Populus
21 Elbeda Cauda Draconis
10 Capricorn Populus 22 Caadaldeba
23 Caadebolach
24 Caadacohot
11 Aquarius Fortuna Maior
25 Caadalhacbia Fortuna Minor
26 Amiquedam
12 Pisces Carcer
27 Algarf Almuehar
28 Arrexhe Carcer

If you compare the figures for the zodiac signs, in the majority of cases you see the same figures at least once in a lunar mansion that overlaps that particular sign.  There are a few exceptions to this rule, however:

  • Fortuna Maior and Fortuna Minor are reversed between Gerard of Cremona’s zodiacal system and Tannery’s mansion system, as are Puer and Puella.  I’m pretty sure this is a scribal error, but where exactly it might have occurred (with Gerard of Cremona or before him, in a corrupt copy of Gerard of Cremona, or in Tannery’s manuscript) is hard to tell.
  • Populus, being given to mansion XX present in Sagittarius, is assigned to Capricorn.  If we strictly follow the system above, we get two geomantic figures for Sagittarius and none for Capricorn.  To ensure a complete zodiacal assignment, we bump Populus down a few notches and assign it to Capricorn.

And there you have it!  Now we understand the basis for understanding Gerard of Cremona’s supposedly random system of corresponding the signs of the Zodiac to the geomantic figures, and it turns out that it was based on the lunar mansions and their correspondences to the geomantic figures.  This solves a long-standing problem for me, but it also raises a new one: since we (probably) don’t have an extant complete system of corresponding the lunar mansions to the geomantic figures, how do we fill in the blanks?  In this system, we’re missing geomantic figures for mansions VII, XI, XII, XVIII, XXII, XXIII, and XIV (or, if you prefer, Aldirah, Azobra, Acarfa, Alcalb, Caadaldeba, Caadebolach, Caadacohot, and Caadalhacbia).  All of the geomantic figures are already present, and we know that some figures can cover more than one mansion, so it might be possible that some of the figures should be expanded to cover more than the mansion they already have, e.g. Rubeus covering mansion VI (Athaya), which it already does, in addition to VII (Aldirah), which is currently unassigned.

This is probably a problem best left for another day, but perhaps some more research into the lunar mansions and some experimentation would be useful.  If an Arabic source listing the geomantic figures in a similar way to the lunar mansions could be found, that’d be excellent, but I’m not holding my breath for that kind of discovery anytime soon.