# 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 Capricorn Virgo
Cauda Draconis Scorpio 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
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
11 Aquarius Fortuna Maior