Unlocking the Observatory: Planets and Numbers

Where were we? We’re in the middle of discussing the obscure Telescope of Zoroaster (ZT), a manual of divination and spirituality originally published in French in 1796 (FZT) at the close of the French Revolution, which was later translated into German in 1797 (GZT) and then again in an abridged form as part of Johann Scheible’s 1846 Das Kloster (vol. 3, part II, chapter VII) (KZT), with Scheible’s work then translated into English in 2013 as released by Ouroboros Press (OZT).  Although OZT is how most people nowadays tend to encounter this system, I put out my own English translation of FZT out a bit ago as part of my research, and while that translation was just part of the work I’ve been up to, there’s so much more to review, consider, and discover when it comes to this fascinating form of divination.  Last time, we talked about how ZT considers its own notion of the “Great Cabala” and why it’s not what people think at first glance. If you need a refresher on what we talked about last time, go read the last post!

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

We’ve covered enough of the preliminary big things in these first few posts that clear up (at least some of) the literary and contextual concerns about ZT.  While there’s certainly plenty more to discuss the overall cosmology and spirituality of ZT, we need to talk technique first to make any sense of it.  We’ll start with the actual method and system of ZT today, beginning with the basic symbol set that we use for our tools.  If you’ll recall from back in the first post of this series, dear reader, I mentioned how I consider a good description of ZT to be “numerological sortilege with an astrological flair”.  This wasn’t an exaggeration: every form of divination that involves sortilege (i.e. some variation on casting lots, obtaining random symbols from some store of such symbols), like Tarot or geomancy, requires some symbol set, and for ZT, the symbols used are the nine planets and the numbers 1 through 99.

And yup, it’s nine planets, at least in a sense.  ZT makes use of a nine-planet model based on the traditional seven from the usual Western esoteric systems we all know and love.  In ZT, there are still the planets Mercury, Venus, Mars, Jupiter, and Saturn (just as we’d expect normally), but the Sun and Moon get treated a little differently: while astronomically there is just one of each luminary, in the Great Cabala of ZT there are two: a material Sun and a spiritual Sun as well as a material Moon and a spiritual Moon.  For this reason, ZT draws a distinction between planets and planetary intelligences, and for the purposes of divination, it’s the planetary intelligences that form part of our symbol set.  (I know, I know, I’m upset that ZT doesn’t make use of the North and South Nodes of the Moon, which would be more traditional for Western astrological practice, but then, ZT is very much dead set against astrology and how Western esotericism does stuff anyway, so whatever.)  It’s important to note that ZT makes use of the term “intelligences”, which those who are familiar with grimoiric or more “high church”-kinds of magic are familiar with for being another term for a spiritual entity.  In some texts, though, “intelligence” is not representative of all kinds of spiritual entities.  In his Three Books of Occult Philosophy, for instance, Cornelius Agrippa draws a distinction between planetary intelligences and planetary spirits, the former being in charge of the direction, throttling, and manifestation of the power of a planet, while the latter is more in charge of the actual flow, presence, and activity of a planet.  In the case of ZT, however, where “intelligence” is a super common term encountered in general, it may be assumed that when ZT talks about “intelligences” it’s talking about celestial or heavenly entities in general.

Also, a small side-point of clarification here about the ZT text in general: the author of ZT likes using the terms “physical” and “moral” to distinguish between different aspects of things.  The former makes sense to us as-is, but the latter doesn’t mean something like “pertaining to matters of correct or acceptable behavior”. Rather, the author of ZT uses “moral” to refer to all things spiritual and ethereal, just as “physical” also refers to all things of matter and corporeality.  Maybe this is just a trend in how people spoke back then, so I might be making a mountain out of a molehill, but I at least find it notable from a translator’s perspective.

So, nine planetary intelligences, alright.  Each of them has one or two names; in all cases, at least one name for the intelligences is based on some sort of Greek-like name (which is the name used throughout ZT).  For seven of these nine intelligences, an alternative name derived from Greco-Latin is also given for some of the intelligences (these latter names being claimed to come from “another work, probably more modern than the one which guides us”, which may well be a literary deceit). As with the ZT text itself, we’ll stick to using the primarily Greek-like names given first (and given below in bold) for our study.

  1. Genhelia (matter-Sun ☉), whose name can be derived from Greek γενηλια genēlia “sun-born”.  Alternate name is “Physia” (variant of Greek φυσις phusis “nature”).
  2. Seleno (matter-Moon ☾), whose name can be derived from Greek σεληνος variant of σεληνη selēnē “moon”.  Alternate name is “Hydrogaeo” (male variant of a combination of Greek words for “Water-Earth”).
  3. Erosia (Venus ♀︎), whose name can be derived from Greek ερωσια erōsia variant of ερως erōs “love”.  No alternate name given.
  4. Panurgio (Mercury ☿), whose name can be derived from Greek πανουργιος panourgios “knave, ruffian”.  Alternate name is “Ruffieno” (“ruffian” or, more literally, “pimp”).
  5. Lethophoro (Saturn ♄), whose name can be derived from Greek ληθηφορος lēthēphoros “Lethe-bringing” or “forgetful-bringing”.  No alternate name given.
  6. Aglaé (Jupiter ♃), whose name can be derived from Greek αγλαια aglaia “splendor, shining”.  Alternate name is “Fulgida” (Latin for “shining, flashing”).
  7. Adamasto (Mars ♂︎), whose name can be derived from Greek αδαμαστος adamastos “unsubdued, unconquerable”.  Alternate name is “Gorgonio” (a play off of the Greek Gorgon and a name used for several Christian martyrs).
  8. Psykomena (spirit-Moon ☽), whose name can be derived from Greek ψυχομηνη psychomēnē “soul-moon”.  Alternate name is “Phosphorina” (variant of Greek φωσφορος phōsphoros “light-bringer”).
  9. Psykelia (spirit-Sun ◎), whose name can be derived from Greek ψυχηλια psychēlia “soul-sun”.  Alternate name is “Celsina” (variant of Latin celsus “tall, high, prominent”).

Before we continue, a note on the symbols used for the planets.  As with usual astrological tradition, the glyphs used to represent the non-luminary planets of Venus, Mercury, Saturn, Jupiter, and Mars are the same as expected in any text.  Genhelia (matter-Sun) is represented by the usual solar glyph of a circle with a dot in the middle, while Psykelia (spirit-Sun) is represented with a circle with another circle inside (which may or may not have a dot in the middle of its inner circle).  Seleno (matter-Moon) and Psykomena (spirit-Moon) are both represented with crescent moon glyphs, but Seleno has the points of its crescent pointed towards the right and Psykomena’s towards the left.

ZT doesn’t just stop at giving the high-level information there, however.  A description of the domain, nature, and activity of each intelligence is also provided:

Genhelia ☉
This Intelligence presides over birth, growth, and the formation of the organs; over health and all good natural affections; and over family ties, from parenthood to the most remote affinity. She is sympathetic, serene, gentle, active, and willingly favorable.

Seleno ☾
This Intelligence presides over all the same things as Genhelia, but is an Intelligence that is filthy, selfish, temperamental, and lazy. He disputes with his rival over all the habits of the body which contract through the concurrence of secondary causes. What Genhelia strives to improve or change through education, Seleno willingly corrupts.

Erosia ♀︎
This Intelligence exclusively governs love, either as a passion of the soul or as a universal mode of reproduction. She knows all the joys and all the sorrows that love involves, all its pleasures and all its pains, and of all its moral and physical excesses. She is a burning Intelligence, but a good, magnetic, and vital one all the same.

Panurgio ☿
This Intelligence presides over the agility of the body, its tricks of skill and strength, and the finesse of the mind and spirit. He governs and protects all kinds of industries, is prodigiously active, and his most commendable qualities are in interpersonal skills and eloquence in language. However, he is selfish, insensitive, cunning, prone to deceit, and humanity is directed through him towards the earning of wealth, illicit or otherwise, than towards success which results from thoughtfulness.

Lethophoro ♄
This is the only essentially evil Intelligence, who presides over all the afflictions of humanity from melancholy to despair and from discomfort to death. He distributes all causes of failure, ruin, disease, and dying; he is weak, unfeeling, jealous, and resentful; he hinders all virtues and serves all the disorganizing passions of the social order.

Aglaé ♃
This Intelligence has essentially the same field as that of Panurgio, but purifies and ennobles everything of which its rival makes ill use. She fertilizes all virtues and all useful or estimable talents, restores what is proper to the arts and sciences, and inspires in humanity a disinterested ambition which directs one towards public esteem and fame than towards opulence. Aglaé is frank, fair, and noble, and she distributes literary success, honors, dignities, and all rewards of true merit.

Adamasto ♂︎
This Intelligence presides over any violence, whether merely intended or actually done. He governs war in general and quarrels in particular, and causes the shedding of blood; however, he is generous, open-minded, and incapable of resentment. Adamasto willingly submits to the influence of Erosia who tempers and tames him, as well as to the influence of Aglaé who constantly shows to Adamasto the danger of disgrace, as well as to the influence of Psykelia who spurs Adamasto on to glory. Adamasto’s faultless work is tireless, and his crimes are of his primary movement, but without any stain of baseness or betrayal. Adamasto is, in short, more tempestuous than dangerous, and is only incidentally destructive.

Psykomena ☽
This Intelligence can be called the “Overseer of the Whirlwind of the Immoral World”, who presides over all errors and follies, and who distributes to all indiscriminately all shortcomings, ridiculous non-issues, and all the innumerable strivings for trivial perfections that result in no real use in the final result of a thing. She inspires false steps, dictates frivolous productions, draws up vain projects, and constantly excites humanity into the chasing of some chimera or other. Though libertine and insensitive, she is without gall, a night without malice, serving as she does without generosity. She is especially influential over very young men, old people, and the female sex in general.

Psykelia ◎
This Intelligence is as transcendent in good as Lethophoro is in evil, and sows happiness on all careers open to humanity. She increases the influence of auspicious Intelligences and corrects the malignity of harmful malicious ones; she prepares all great fortunes and unexpected illustriousness. Opulence, victory, and triumph attach themselves to wherever she looks. She renders sublime all good sentiments; she exalts fidelity, constancy, friendship, love, and courage. She maintains the fire of genius, pulling humans out of their worst steps and purifying them to be able to reach for the highest degree of perfection allowable by human nature.

All in all, the natures of the intelligences are about what one would expect for their respective planets, though with a much dimmer view of the lunar intelligences and of Saturn than I would have expected, and a much more realistic and frank one of Mercury than is often encountered or appreciated.

It is on the basis of these nine planetary intelligences (hereafter just “Intelligences”) that we can then proceed to the Numbers.  In the system of ZT, each of the numbers from 1 to 99 is given a set of significations that build up numerologically from simple principles.  Those principles are themselves the Intelligences, each of which is given to one of the “primitive Numbers”, or the single digits 1 through 9, in the same order as the Intelligences are shown above: 1 to Genhelia, 2 to Seleno, 3 to Erosia, 4 to Panurgio, 5 to Lethophoro, 6 to Aglaé, 7 to Adamasto, 8 to Psykomena, and 9 to Psykelia.  It should be stressed that the Intelligences are not numbers themselves, but receive these numbers as a lord does a vassal; in other words, the Intelligences are on a higher ontological level than the primitive Numbers, and the primitive Numbers act as representatives of the Intelligences.

After the primitive Numbers come the compound Numbers, which are double-digit numbers that are themselves composed of the primitive numbers plus the null digit (0).  Each compound number falls into a group of numbers established by the primitive Number it reduces to: the standard numerological procedure of “adding up all the digits until you get a single digit number” is the process here, such that 45 → 4 + 5 = 9, 66 → 6 + 6 = 12 → 1 + 2 = 3, and so forth (or, more mathematically, take the number modulo 9, i.e. divide the number by 9 and take the remainder, replacing a 0 result with 9).  To keep track of all this, ZT provides a table of numbers which maps the 99 numbers to the planetary intelligences.  What’s neat about this, though is that because there are 99 numbers and we add another 9 to them (the Intelligences), if we plot out each series of 9 on separate rows, we get twelve rows total (because 99 + 9 = 108 and 108 ÷ 9 = 12).  What ZT does with that fact is that it allots each consecutive set of nine symbols to one of the twelve signs of the Zodiac in order, as below:

Aries ♀︎ ♂︎
Taurus 1 2 3 4 5 6 7 8 9
Gemini 10 11 12 13 14 15 16 17 18
Cancer 19 20 21 22 23 24 25 26 27
Leo 28 29 30 31 32 33 34 35 36
Virgo 37 38 39 40 41 42 43 44 45
Libra 46 47 48 49 50 51 52 53 54
Scorpio 55 56 57 58 59 60 61 62 63
Sagittarius 64 65 66 67 68 69 70 71 72
Capricorn 73 74 75 76 77 78 79 80 81
Aquarius 82 83 84 85 86 87 88 89 90
Pisces 91 92 93 94 95 96 97 98 99

This table is originally given (and far more beautifully rendered) in ZT as “Plate 2”.  While there are a bunch of other elements on this illustration which we’ll get around to covering, let’s just take a look at the table of numbers itself:

When we take a step back and look at all the Numbers, we can divide up the Numbers into several groups:

  • Primitive Numbers: numbers composed of single digits (9 total)
  • Compound Numbers: numbers composed of two digits (90 total)
    • Simple Compound Numbers: numbers composed of two digits where both digits are different and nonzero (72 total)
    • Double Compound Numbers: numbers composed of the same digit twice, i.e. a primitive number multiplied by 11 (9 total)
    • Tenfold Compound Numbers: numbers composed of one primitive digit and one zero digit, i.e. a primitive number multiplied by 10 (9 total)

As I said earlier, each of these 9 Intelligences and 99 Numbers has their own set of significations and meanings.  That said, we don’t have to memorize meanings for them all, because there’s a trick to it: you only really need to learn the meanings of the Intelligences and the primitive Numbers, and the rest all fall along in a nice, convenient pattern.

As an example, consider the primitive numbers 3 and 7.  3 is the number of Erosia (Venus), and has the meaning of “object of the heart, fecundity, fertility” (under Erosia’s general signification of “love, the universal magnet”).  7, likewise, is the number of Adamasto (Mars), and has the meaning of “military status, chiefs, sometimes competitors” (under Adamasto’s own general signification of “the strength of soul and body, violence, the element of fire”).  Now, if we take 3 and 7 and combine them into a compound number, we get either 37 or 73.  In both cases, these numbers reduce to 1  (3 + 7 = 10 and 3 + 7 = 10 , but 10 → 1 + 0 = 1), which is the number of Genhelia (matter-Sun).  Because of this, both 37 and 73 have something to do with Genhelia’s general domain.  In the case of 37, the meaning is “burning senses, amorous passion”; in the case of 73, “rapt in love, romantic/novelesque adventures” (with “romantic” used in the older sense of fantastic stories of chivalry and nobility”).  Note how both 37 and 73 retain their basic Venereal and Martian qualities (their single digits), but permuted in different ways within the general contextual scope of matter-Sun (their reductions to a primitive number).

To hammer in the lesson, let’s also consider the numbers 5 and 8.  5 is the number of Lethophoro (Saturn), and has the meaning of “ruin, fatal illness, secret enemy” (under Lethophoros’s general signification of “death, darkness, the element of water”); 8 is the number of Psykomena (spirit-Moon), and has the meaning of “the feminine being, the social whirlwind” (under Psykomena’s general signification of “mistake, vanities, inconstancy, foreign countries”).  The compound numbers 58 and 85 both reduce to 4 (5 + 8 = 13 and 8 + 5 = 13, and 13 → 1 + 3 = 4), putting both these numbers under the domain of Panurgio (Mercury).  58 has the meaning of “deceived wife, sometimes her death”; 85 has the meaning of “treacherous woman, sometimes testament”.  Again, note how the compound numbers retain their basic qualities of Saturn and spirit-Moon (according to their single digits) but play out in different ways according to the context of Mercury (their reduction).

We see these things touched on in the list of advice and considerations given towards the end of ZT:

  1. Let us never tire of reflecting on the attributes assigned to each Intelligence, and what about these attributes are respectively analogous to each other or incompatible with each other.
  2. Let us deeply penetrate into the primitive quality that each simple number has, inasmuch as it is often the representative of its own planet and recalls it everywhere it may be.
  3. Let it be ingrained that whenever a simple number appears joined with another to form a compound number, each of the two digits still preserves something that is primitively proper to them, wherever it may fall in some mirror or in some orbit, even one most foreign to its planet or angel.

In general, if we look at the meanings of the compound Numbers, we see a pattern arising: the basic planetary concept expressed by the tens digit acts upon or makes use of the basic planetary concept of the ones digit (e.g. 85 = spirit-Moon on Saturn = woman making use of ruin, but 58 = Saturn on spirit-Moon = ruin falling upon woman).  We just have to remember that each compound Number is bound by three things: the two separate digits it is composed of and the single digit it reduces to.  Thus, although one could conceivably come up with any number of things that 37 might resolve to being “Venus acting upon/making use of Mars” for weal or for woe, we have to remember that we are bound by the semantic limitations of these things falling in line with the general field of matter-Sun (because 37 reduces to 1).

At least, that’s the general idea for understanding the compound Numbers in general, but that works especially for the “simple compound Numbers” (e.g. 78, 29, 32), where a compound Number has two nonzero digits that are different from each other.  What about the other two kinds of compound numbers?

  • For the double compound numbers (aka “doublets” where both digits are the same, i.e. a primitive number multiplied by 11 like 22, 33, 44, etc.), it’s a similar deal as before: take the single digit, compound it upon itself, and interpret it in the context of the primitive number it reduces to.  For instance, consider 6, the primitive number of Aglaé (Jupiter), which has the meaning of “prudence, wisdom, great magistracy” (under Aglaé’s general signification of “fame, arts and sciences, the element of air”).  If we double the number (or, more accurately, multiply it by 11) to get 66, then this number reduces to 66 → 6 + 6 = 12 → 1 + 2 = 3, the number of Erosia (Venus).  As a result, 66 has the indication of “legal marriage, social concord” (Jupiter acting on Jupiter within the context of Venus).  Likewise, using numbers we’ve already encountered before, if we take the number 7 of Adamasto (Mars) and double it, then we get the number 77 which reduces to 77 → 7 + 7 = 14 → 1 + 4 = 5, the number of Lethophoro (Saturn); 77 has the indication of “severe physical accident, violent death”.  It’s the same process as before.
  • For the tenfold compound numbers (aka “nilled numbers” where the ones digit is 0, i.e. a primitive number multiplied by 10 like 20, 30, 40, etc.), the result is a little different.  In the system of ZT, even though zero is a digit, it is not a primitive Number, and so has no Intelligence associated with it.  In this case, a nilled number will always appear in the same column as the primitive number of its corresponding tens digit (e.g. 70 will always appear in the column of Adamasto/Mars because 70 → 7 + 0 = 7).  Such a compound Number has a general indication of the privation, diminution, or depletion of its primitive Number’s general idea.  Thus, 70 can be read as “weakening of Mars”, and thus has the meaning of “weakness, discouragement, cowardice”; 30 can be read as “weakening of Venus” → “celibacy, chastity, monasteries, insensitivity”; 40 can be read as “weakening of Mercury” → “aborted wealth, empty plans or intrigues”.  This is a slightly different pattern than the rest of the compound numbers.

That’s all there is to it: by understanding what the basic meanings of the digits 1 through 9 are, we can permute them and reduce them to come up with a rather specific set of meanings in a well-defined semantic field.  In this way, ZT has its own sort of “astrological numerology”, and rather than having to memorize a set of indications for every Number from 1 through 99 in addition to the nine Intelligences themselves, one really just needs to learn the nine Intelligences and the nine primitive Numbers and then how they can all fit together.  It’s actually a really neat way to generate meanings—which is why we see warnings throughout the ZT that the tables of indications provided for meanings and significations like this are inherently limited and limiting, given that they’re only a few words long and are only meant to illustrate possible meanings that fit the tens digit/ones digit/reduction digit trifecta of symbols, rather than trying to flesh out all possible meanings.  ZT, after all, “is only a key, not a treatise”.

All the same, to fill out the understanding of how the basic symbols of the numbers come together, here’s the list of indications for each of the Intelligences and the Numbers given in ZT (according to my translation of FZT).  The following list of indications comes from the “First Supplement” in ZT, but note that, due to HTML/blog platform restrictions, I’m not able to put in the Unicode glyph for the list element representing the Intelligence itself; instead, the Intelligence is represented by a negative single-digit number, e.g. “-2” represents the intelligence of Seleno, while 2 is the primitive Number that pertains to Seleno.

Genhelia ☉

  1. Existence. Physical soul. The homeland.
  2. The male being. The people. Birth.
  3. (The male child will live only for a short time.) Short duration.
  4. Noble origin. Ascent of the individual.
  5. (A girl will be born.) Acquaintance with a woman.
  6. Burning senses. Amorous passion.
  7. Great profits. Acquisitions. Tutors. Education.
  8. Natural death. (Sometimes bankruptcy.)
  9. Losses. Trials. Legal practitioners.
  10. Rapt in love. Romantic adventures.
  11. Maternity. The mother. Productive causes.
  12. Great age for a man. Experience. Consideration.

Seleno ☾

  1. Kinship. Common interest. The Earth.
  2. Second causes. Society. Clubs.
  3. Sympathy. Dependencies. Twins.
  4. Breakups. Solutions of interests. Hearths.
  5. Whirlwinds of the Great. Courtiers. Falsehood.
  6. Woman giving in. Seduction. Adultery.
  7. Passive attacks. Debates. Outrage.
  8. Happiness crossed. Aborted success. Widowhood.
  9. The Savior. The Avenger. The Peace.
  10. Advantages by strength or skill.
  11. Woman in love. Hysterical passions.
  12. Powerful help. Protectors.

Erosia ♀︎

  1. Love. The universal magnet.
  2. Object of the heart. Fecundity. Fertility.
  3. Reproduction. Amorous enjoyment. Success.
  4. (A son will be born.) Nascent bond.
  5. Celibacy. Chastity. Monasteries. The insensitive object.
  6. Illustrious gallantries. Fortune through love.
  7. Illicit unions. Theatrical overreactors. Wanderers.
  8. Jealousy. Disasters by love.
  9. Legal marriage. (Sometimes social concord.)
  10. Unlucky passion. Corrosive feelings.
  11. Insidious woman. Perverted young man.
  12. Circle of delights. Fortune of chance.

Panurgio ☿

  1. Wealth. Trade. Travels. The seas.
  2. Discoveries. Intrigues. The opposing party.
  3. Aspirant. Talents to be treasured and cherished.
  4. Happy association. Friendship. Letters.
  5. Good fortune for a clever man. Chickens.
  6. Aborted wealth. Empty plans or null intrigues.
  7. Eloquence. Orators. Ascending.
  8. Deceived wife. (Sometimes her death.)
  9. Great success by talent. Enterprises.
  10. Works for glory. Monuments.
  11. Treacherous woman. (Sometimes testament.)
  12. Sublime talents. Mechanical virtuosos.

Lethophoro ♄

  1. Death. The night.The element water.
  2. Ruin. Fatal illness. Secret enemy.
  3. Bad faith, people thereof. (Sometimes doctors.)
  4. Orphans. Bastards. Those bound to misfortune.
  5. Incestuous passions. Shunned pleasures. Vices.
  6. End of a man. Violent thieves. Lawsuit lost.
  7. End of a loved one. (Sometimes ruin avoided.)
  8. Death of a great person. Public disaster.
  9. Dangerous enemy. Hypocrisy.
  10. Severe physical accident. (Sometimes violent death.)
  11. Hospitals. Women dedicated to the service of the sick.
  12. Perversity. Powerful enemies. Great crimes.

Aglaé ♃

  1. Fame. Arts and sciences. The air.
  2. Prudence. Wisdom. Great magistracy. Embassies.
  3. Skillful chemists. Friends of humanity.
  4. Family of merit. Grand establishments.
  5. Virtuous and constant love. Meeting of lovers.
  6. Social utility. All honest professions.
  7. Death of a sage or a friend. To be condemned.
  8. Desertion of good ways. Dangerous actors.
  9. Illustriousnesses. Titles and orders of merit.
  10. Passion for women. Poetic enthusiasm.
  11. Great virtues of women. Heroines.
  12. Great protectors. Virtuous path.

Adamasto ♂︎

  1. The strength of soul and body. Any violence. The element fire.
  2. Military status. Chiefs. (Sometimes competitors.)
  3. Great courage. Obstinacy. War.
  4. Family in discord. Tasks. Civil unrest.
  5. Careful and firm conduct in love. (Success.)
  6. Ascending through feelings. Beloved superiors.
  7. Loss of a parent or associate. To be gone.
  8. Father. Benefactor. Blessings. Favor.
  9. Weakness. Discouragement. Cowardice.
  10. High ranks. Military honors. Generalship.
  11. Pairs. (Sometimes feminine discord.)
  12. Strength and power. States. Armies. Public wealth.

Psykomena ☽

  1. Mistake. Vanities. Inconstancy. Foreign countries.
  2. The feminine being. The social whirlwind.
  3. Nonsensical passions. Punishable enthusiasm.
  4. Public criticism. Gossip.
  5. Quarrels between lovers. Absence.
  6. Maladministration. Shame. Correction.
  7. Loss of the most cherished being.
  8. Family authority. Prohibition. Poverty.
  9. Disturbed brain. (Sometimes an effeminate man.)
  10. Short life for a female being. (Sometimes murderers.)
  11. Great lady. Sovereign woman. Influential woman.
  12. Remarkable extravagance. Crazy and mad people.

Psykelia ◎

  1. Perfection. Heavenly soul. The light.
  2. Nobility. Elevation. All kinds of success.
  3. Household protected by fortune. Fortunate lineage.
  4. Authority over the nation. Public respect.
  5. Conjugal love. Happiness and virtue.
  6. Legacies. Success on critical occasions.
  7. Death of an enemy. Triumph. Lawsuit won.
  8. Loves favored by public opinion. Religion.
  9. Family strength. Federations.
  10. Extreme old age for a woman. Prejudices.
  11. Abdication. Retreat from the whirlwind. (Sometimes degradation.)
  12. The height of prosperity. Sovereignty. Papacy.

If this all seems like a lot, it’s because it is—but at least we know what’s generally going on.  Rather than having to memorize each of the 108 indications given above as being something fixed and immutable, we just need to recognize the pattern and learn from these indications as being more like illustrative examples.

To wrap up this discussion, there are just two big questions on this topic left that we should consider.  First: if you recall that Table of Numbers from before (given in Plate II), there’s not just the Intelligences and Numbers on the table, but also the signs of the Zodiac.  What role do they play in establishing or fleshing out meanings of the Intelligences or Numbers?  Bluntly speaking, I can’t see that they do; if we read the numbers across the table, there doesn’t seem to be a whole lot that ties in the significations to any given Zodiac sign, and ZT never brings these up at all when discussing their meanings.  While it’s not outside the realm of possibility that one could involve the Zodiac signs as an extra consideration or another semantic boundary to establishing the meaning of a given Number or Intelligence, and while the relatively free approach to generating meanings might well be permitted by ZT, I don’t think ZT actually does this.  In short, based on my understanding of ZT, I don’t think the Zodiac signs matter (or should matter) at all for the purpose of establishing, generating, or understanding their meanings.  The signs of the Zodiac, rather, have a different function which we’ll get to later on in describing periods of life of humans and illustrating some temporal concepts, but don’t have a strong symbolic presence in the system of ZT.  While one could feasibly work in the meanings of the signs of the Zodiac somehow into the overall meanings of the Intelligences or Numbers, I don’t think ZT actually implies that this should be done, rather sticking to a purely numerological approach to develop meanings.

The second (and more historically interesting) question: where is ZT getting its system of numerology from?  That is a great question, frankly, and one which I struggled with for quite some time.  There are many systems of numerology that involve the planets in one form or another, but it’s not as common to find one that doubles the Sun and Moon, and less common still to find any set of numerological meanings like what ZT uses.  Either ZT is literally making its own system of numerology up (in the sense of giving certain numbers to certain planets), or it’s taking inspiration from some other obscure source.  I have my suspicions about where it’s coming from, but it requires more context to justify and explain, and we’re not quite there yet; we’ll cover that in a future post.  On the other hand, if you, dear reader, are familiar at all with similar systems, do say so down in the comments; you might be helping everyone trace the development of the system of ZT here in the process (and helping to make up for my own limited research), or at least spurring people on to research more leads to that end!

Colors of the Planets

The core components of much of the ritual I do is simple: a candle lit for God and prayer.  Everything else is, strictly speaking, optional.  Yes, even incense, especially when simply performing prayer and adoration of the Divine, as Hermēs tells his students towards the end of the Perfect Sermon:

[Asclepius said:] “Let us suggest to father, Tat,—what he did bid us do,—that we should say our prayer to God with added incense and with unguents.”

Whom when Thrice-greatest heard, he grew distressed and said: “Nay, nay, Asclepius; speak more propitious words! For this is like to profanation of [our] sacred rites, when thou dost pray to God, to offer incense and the rest. For naught is there of which He stands in need, in that He is all things, or all are in Him. But let us worship, pouring forth our thanks. For this is the best incense in God’s sight, when thanks are given to Him by men.”

So, really, even perhaps my candle lit for God, a sacred flame I have burning at my main shrine whenever I do any sort of temple work, could be considered extraneous; I prefer, following usual ancient practices, to always have a sacred lamp lit with a sacred fire, so that I never pray or work in darkness.  But, when performing pure theurgy, Hermēs suggests that prayer is the only required element—indeed, the only element that should be used.

But that’s really only applicable for God and the highest-of-the-high practices I engage in.  And there are a lot of other gods and practices I engage in, and other components, like incense, are pretty damn useful.

I don’t think I’m making a controversial claim for when I say that everything present in a ritual should be present to further that ritual’s application and efficacy; having extra elements or components there that either aren’t used or aren’t related to the ritual shouldn’t be there in the ritual itself.  This is far from encouraging minimalism, of course; with this maxim, you can get as complex and as complicated, as embellished and exaggerated as you like, by throwing in element after component or tool after supply into a ritual.  Sometimes, that can be extremely helpful; other times, not so much.  But this goes far beyond simply the choice or variety of incense and libation; everything in a ritual, down to the thread used to hem your robes (or sweatpants), can be engineered towards a particular ritual.  After all, if you want to take a more psychological or semantic approach to ritual, everything in a ritual is a symbol, and all symbols have meaning.  And color symbolism is huge in many kinds of occult and spiritual work.

With my renewed Hermetic practice I’ve been working on since the beginning of the year, I’ve been mulling over how I would want to make a new set of planetary talismans.  I have an old set from when I was doing Fr. Rufus Opus’ Red Work course, which I’ve used ever since, and have been solid tools in their own right.  Materially, they’re just halves of wooden craft yo-yos that I took apart; taking them apart left a hole in the underside of them, which I filled with the appropriate planetary metal, and after I did that, I woodburned the name and seal of the planetary angel and used the planetary characters from the Magical Calendar (originally(?) used for the Table of Practice from the Ars Paulina of the Lemegeton) around the sides.  The effect was pretty nifty, if I do say so myself.

For these talismans, I painted each talisman in an appropriate planetary color: purple for the Moon, orange for Mercury, green for VEnus, yellow for the Sun, red for Mars, blue for Jupiter, and black for Saturn.  Of course, “appropriate” here could be debated; the source for these colors is largely taken from Golden Dawn practice using their Queen scale of colors for the sephiroth of the Hermetic Tree of Life.  Of course, the Queen scale—perhaps the most commonly known and used—is just one of four scales; there’s also the King scale (indigo, violet purple, amber, clear pink rose, orange, deep violet, crimson), the Prince scale (very dark purple, russet red, bright yellowish green, rich salmon, bright scarlet, deep purple, dark brown), and the Princess scale (citrine flecked azure, yellowish brown flecked gold, olive flecked gold, golden amber, red flecked black, deep azure flecked yellow, grey flecked pink).  The link above gives an appreciable examples of all these colors (which, rather than being vague suggestions, were actually meant to be quite exact and specific), as well as for the other sephiroth and each of the paths on the Tree of Life.  Complicated, to be sure, but if nothing else, the Golden Dawn takes complication and turns it into an art form.  Plus, those who have ever read Alan Moore’s comic series Promethea (still a great primer on popular modern Western Hermetic mystery cosmology from a Golden Dawn/Thelemic standpoint) will find these colors for the planets incredibly familiar, as the artist specifically used these color scales for the sephiroth as Sophie Bangs (and Promethea) ascends through them from Earth/Malkuth to God/Kether.

But…well, I’m not a Golden Dawn magician.  Like, I’ve never done the LBRP, or any [LG][IB]R[PH] type of ritual, or a Middle Pillar, or whatever.  While these colors (or at least the Queen scale colors) are incredibly common, and incredibly useful, this surely can’t be the only magical color system for the planets, and while I don’t want to fix what’s not broken, I do want to try distancing myself from Golden Dawn stuff and see if other systems work, hopefully as well if not better.  To that end, I’ve been looking into what other options there might be in the usual magical literature we typically consult from the pre-Golden Dawn days, like Agrippa et al., and seeing what such color symbolism might already have been present in classical or antique times.

For the usual grimoires we might turn to, we can find color lists in the following texts:

Plotting them out and comparing them, we can get a color table like the following:

Planet Key of Solomon Key of Knowledge Agrippa

Colors

Agrippa Planets Agrippa Clothes
Saturn black black black, earthy,
leaden, brown
dull blue black
Jupiter celestial blue green sapphire, “airy colors”,
green, clear, purple, darkish, golden,
mixed with silver
pale citrine blue
Mars red red (“vermilion”) red, burning/fiery/flaming colors,
violet, purple, bloody/iron colors
fiery red red
Sun gold, yellow, citron rich yellow (“saffron”),
green
gold, saffron, purple, bright colors yellow or
glittering red
yellow, gold
Venus green azure, violet white, pale colors,
eye-catching colors,
ruddy between saffron and purple
white and shining,
or red
white, green
Mercury mixed colors yellow-orange
(“eggyolk”)
glittering mixed and changing
Moon silver or argentine earth white
(“white lead”)
“fair” (pale white) green, silver

I’m sure there are plenty of other Western Renaissance and medieval sources for attributing magical colors to the planets, but this is already lining up to be kinda uniform, and we can see how such a color system informed the Golden Dawn set—at least as far as the Queen scale is confirmed.  But the use of color symbolism for the planets is much older than this; it’s not like colors are a new thing for magicians or people generally.  As many of my readers know, using rituals and information from the Greek Magical Papyri (PGM) is one of my favorite things to do, so I thought about looking back to classical and pre-modern sources in the West for more information.  Happily and fortuitously, Tony Mierzwicki in his Graeco-Egyptian Magick has basically already done the work for us there.  I’ll summarize his findings and sources:

  • PGM CX.1—12, some sort of astrological divination that uses mineral or metallic objects: Sun, gold; Moon, silver; Saturn, obsidian; Mars, yellow-green onyx; Venus, lapis lazuli streaked with “gold” (pyrite); Mercury, turquoise (καλλάϊνος, literally “like a precious stone of a greenish blue”, turquoise or chrysolite, or even the famous blue-green Egyptian faïence); Jupiter, “a dark blue stone, but underneath of crystal” (“ὁ δὲ Ζεὺς ᾔτῳ κυάνου λίθου ὑπὸ δὲ κρυστάλλου”, possibly amethyst).  Mierzwicki gives the “apparent colors” for these planets then as: Sun, gold; Moon, silver; Saturn, black; Mars, yellow-green; Venus, blue; Mercury, blue-green; Jupiter, dark blue and clear (or indigo/dark puple and white).
  • Mierzwicki also matches PGM CX.1—12 with evidence from the seven-stepped zigurrats of Ecbatana and Khorsabad, according to Herodotus and archaeological evidence, respectively: gold/gold, silver/silver-grey, orange/orange, blue/blue, red/reddish-purple, black/black, white/white.  Mierzwicki gives these the planets Sun, Moon, Mercury, Venus, Mars, Saturn, and Jupiter, respectively.

It’s important to note that red is generally a taboo color in PGM and Egyptian stuff generally, as it’s considered to be a color associated with Set, and thus Typhōn.  This is why so many PGM rituals call for “lamps that are not colored red”, and might explain the lack of red in the above PGM text, which appears to be currently the only one known that links particular colors (well, stones and minerals) to the planets.  However, scanning through the rest of the PGM for bits and pieces that are color-related, we can also get the following:

  • PGM XII.270ff:  heliotrope (green chalcedony with small spots of red jasper) for the Sun
  • PGM V.213ff: “costly green stone” (“σμάραγδον πολυτελῆ”, “expensive emerald”) for a scarab ring to speak with the Sun
  • PGM VI.2622ff: purple used to color a skin that encloses a phylactery for calling upon the Moon
  • PGM V.370ff: purple used for a cord to wrap up hair as a sacrifice to the Moon (well, really, Hermēs, but here meaning Thoth as a lunar god)
  • PGM IV.2891ff: white used for a dove as an offering to Venus
  • PGM IV.3209ff: white used for a saucer and wax for a saucer divination under Venus
  • PGM VII.478ff: white used for a dove, the droppings of which are used in a ritual to Eros, connected to Venus
  • PDM xiv.920ff and 933ff: white is the color of a stone called “foam of the moon”, like galbanum or glass

So, not a lot, as it turns out.  But at least we have something we can plot out in another table:

Planet PGM CX.1—12 Babylonian Other PGM
Saturn black black
Jupiter dark blue/purple and white white
Mars yellow green (or red) red
Sun yellow, gold yellow, gold green
Venus rich blue blue white
Mercury light blue-green orange
Moon white, grey, silver silver purple, white

Funnily enough, in the process of writing this post, one of my mutual followers on Astrology Twitter, @jaysunkei, posted a surprised tweet about planetary colors, especially that for the planet Mercury, which started off a whole bunch of conversations about different texts and traditions of colors, including those listed above:

The stuff posted in that Twitter thread gives us even more options to work with based on a variety of astrological sources as well as cultural ones (cf. David McCann’s article The Astrology of Color on Skyscript.co.uk and this article about colors and planets through different cultures and time periods):

Planet Picatrix Al-Biruni Ibn Ezra Lilly Sepharial
Saturn black, dark black, dark black, dark white, pale, ashy, black, dark black, dark
Jupiter green brown, white green purple
Mars red red red red red
Sun yellow orange red yellow, red, purple orange
Venus light blue, light green white, yellow light green light blue, light green, white light blue, light green
Mercury blue purple, mixed colors blue, grey, mixed colors blue, grey, pink, yellow
Moon orange, yellow blue, orange, yellow green, white green, orange, yellow, white green, orange, yellow, white

In the end, it looks like we have a lot of options to pick from, all based on different authors and time periods and cultures and styles of working, some more astrological than magical, others more magical than astrological, some more grounded in the Earth and some more grounded in Heaven.  There are a few commonalities, sure, and if I were to summarize some of the most common colors to make a “general” color scheme for the seven planets, I’d go with the following:

  • Saturn: black.  Everyone seems to be in agreement with this one, although this could be expanded to any super dark, dull color, more like a hue.
  • Jupiter: blue or purple.  Blue seems to be more common than purple, but both are considered “royal” colors, which fits in nicely with Jupiter’s significations.  Still, blue seems to be more common.
  • Mars: red.  This is pretty common across everyone, shockingly enough.
  • Sun: gold or yellow.  Gold, of course, is ideal for the Sun, but that’s more a metal rather than a color; a rich yellow, tending slightly more towards orange than green, would be better if a simple color is preferred.
  • Venus: primarily green, secondarily white.  Green seems to be more common than white (though “green” here is probably best described as a “light blue-green”, like teal, aquamarine, spring green, cyan, Persian green, jade green, or turquoise), though white is also a common option.  However, white can also be used for the Moon, so be careful here (more on this below).
  • Mercury: ¯\_(ツ)_/¯  Mercury’s colors are all over the map, and I think the best way to describe Mercury’s color is “plaid”, meaning any set of mixed, changeable, shifting, or interwoven colors.  Barring that, however, orange seems to not be a bad choice, as this is sometimes considered to be a “muddled” or “mixed” color itself, compared to the more pure yellow or red.
  • Moon: silver or white.  Silver is preferred, but this is more a metal than a color, so the best way to describe this in terms of simple colors is just white.  However, white is also an option for Venus; if white is chosen for Venus, use silver for the Moon, and if white is used for the Moon, use green for Venus.

Lots of options, indeed, and of course the above isn’t exhaustive; there’re also Mesoamerican and Native American traditions, Chinese and Indian/Vedic systems, and other systems of astrology and magic out there that have their own color associations with the planets and stars, too.  But, even with this much, at least we can make things look nice for ourselves and our works.

Reviewing the Trithemian Conjuration: The Planetary Stuff on the Table

Where were we?  We’re in the middle of discussing the early modern conjuration ritual The Art of Drawing Spirits Into Crystals (DSIC), attributed to the good abbot of Spanheim, Johannes Trithemius, but which was more likely invented or plagiarized from another more recent source by Francis Barrett in his 1801 work The Magus, or Celestial Intelligencer.  Many who are familiar with it either read it directly from Esoteric Archives, came by it through Fr. Rufus Opus (Fr. RO) in either his Red Work series of courses (RWC) or his book Seven Spheres (SS), or came by it through Fr. Ashen Chassan in his book Gateways Through Stone and Circle (Fr. AC and GTSC, respectively).  I’ve been reviewing the tools, techniques, and technology of DSIC for my own purposes as well as to ascertain the general use and style used by other magician in the real world today, and right now, we’re in the middle of focusing on the Table of Practice and how DSIC instructs the table and pedestal to be made.  Last time, we bit into one of the biggest debates about different approaches to the DSIC, namely whether to use the names of the Four Kings of the Earth (Oriens, Paimon, Egyn, Amaymon) or the names of the Four Archngels (Michael, Raphael, Gabriel, Uriel); many grimoire-purists and demon-workers argue for the former, while Fr. RO, Fr. Acher, and a number of others argue for the latter or for either or.  But we’re moving on now to keep the discussion moving; if you need a refresher, go read the last post!

Now that we have the debacle-debate about the four kings out of the way, let’s move on with the rest of the table.  We know from the description given in DSIC that the table needs to have the following on it:

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

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

With the four kings understood, and the debate about the pros and cons about using the four archangels instead of the four kings, what about the planetary stuff?  DSIC says to draw “the names of the seven planets and angels ruling them, with their seals or characters”.  That’s…quite a lot of stuff, actually.  According to the text, we need the name of the planet, the name of the angel ruling the planet, and then…well, what exactly do we mean by “their seals or characters”?  Do we mean the seals of the angels, the seals of the planet, or both?  The most common form of table that we see, as seen from Fr. RO’s versions above, use only the glyph for the planet (viz. the ones we most commonly see as a representation of them in astrological charts and texts) and the names of the planetary angels, with no other characters or names present.  We see this in the majority of Tables of Practice with some variants, such as the Magian-script one from the Scribbler, another version made by Fr. FC, and many that are commonly made and sold on Etsy

However, Fr. AC, as usual, goes a bit further.  GTSC gives the following for each planet:

  • the glyph of the planet
  • the name of the planet
  • the name of the angel
  • the seal of the angel

GTSC separates these four elements with middle dots (·), and separates groups of these elements with colons (:).  I like that design choice of separation, but I want to call into question his choice of characters here.  Though it’s a little hard to see, an image of how he sets up his table (along with the pedestal) is up on one of his old blog’s posts:

I find it incredibly odd that GTSC uses only the genitive forms of the Latin names instead of the nominative (e.g. Saturni instead of Saturnus, “of Saturn” instead of just “Saturn”).  Maybe this is due to a result of a poor understanding of Latin on Fr. AC’s part? I mean, it could be read as e.g. “Saturni Cassiel” translating to “Cassiel of Saturn”, but the use of the separator dot would seem to break that construction.  I think Fr. AC made a mistake here: he says he likes the “old spelling” of the planets, but that would properly imply using the nominative case here, just as we wouldn’t say “Michaelis” (genitive of Michael) or “Raphaelem” (accusative of Raphael), just “Michael” and “Raphael”.

However, Fr. AC interprets “their seals or characters” to only apply to the angels and not the planets, but there are indeed characters of the planets, too, which Fr. AC completely passes over in this case.  As noted above, Fr. Acher uses the sigils of the planets derived from their magic squares from Cornelius Agrippa (book II, chapter 22), but Satyr Magos over on his blog Journey Through The Obsidian Dream devised a nonce-based version that included only the planetary glyphs and characters (while omitting the angelic names) from earlier on in Cornelius Agrippa (book I, chapter 33).  Similarly, Erneus of Magia Pragmatica: Key to the Key of Solomon developed a Fr. RO-based design of the Table of Practice that includes the angelic names and seals as well as the planetary characters and images from the Magical Calendar, replacing the usual planetary glyphs with their corresponding images.  And, too, recall how Fr. Acher uses the number square-based planetary seals, too, on his table design.

Satyr Magos uses the planetary characters from Agrippa, but the table design made by Erneus uses the characters that were also used in the Ars Paulina.  The Ars Paulina, I should note, is likely the main inspiration or corroborating text that the Magical Calendar sourced its versions of the planetary characters from, and so it’s these that already have a good argument for using them instead of Agrippa’s planetary characters because they’re already part of a Table of Practice used for the same ends as the DSIC one, even if it’s of a fundamentally different design.  That is, there would be a good argument if only it weren’t for the fact that the Ars Paulina likely postdates Agrippa (given its likely Paracelsan origin), and the Magical Calendar definitely postdates Agrippa.  However, I think either set of characters would work, but I would favor the Agrippa set of characters that Satyr Magos uses.  However, Joseph Peterson mentions in his notes to the Lemegeton that the characters from the Ars Paulina, given the connections that the Ars Paulina also has with book II of the Steganographia of Johannes Trithemius (actually the real author instead of his spurious association to DSIC), may well give this latter set of characters a stronger argument.

While it’d be great to have the name, glyph, and character(s) of the planet as well as the name and seal of the angel, Fr. Acher pointed out in his design of his own table that it’s…just kinda too much.  Plus, it also raises the issue of the fact that the four kings have only names and neither characters nor seals (unless you want to go with the really intricate seals from the Clavis Inferni, as Asterion showed on his blog, which may not be necessarily recommend for this purpose); we could use the elemental glyphs, but that seems weird to me, as the four kings are more about the four corners of the Earth rather than the four elements.  If we wanted to make everything follow the same standard, we’d use only the names of the angels and planets and the names of the kings with no other glyphs or seals or characters, because that’s something they all have, but that certainly misses DSIC’s explicit instruction to engrave them with the “seals or characters” of the planets and/or the angels.  If we interpret the “seal or character” of the planet to just be that planet’s glyph, as GTSC appears to do, then that makes the process much easier and cleaner for us, and it avoids having to cram in several batches of things into a tight space, but I don’t like that approach; it seems to stretch what is normally meant by “seal or character”.  But, including the planetary characters, if we weren’t going to go with the seal/sigil like how Fr. Acher did (which is super detailed and can be hard to do on some surfaces with sufficient clarity) would mean we’d either need either a very large table or a very small font to get everything written in.

Thinking on this for myself, just to consider the planetary elements of the design of the table, I would include the glyphs for the planet, the strings of planetary characters from Agrippa, and the name of the angel; those would be my priorities.  The glyph of the planet basically stands in for and is synonymous with the name (and indeed is read as the name itself in many occult texts), and the planetary characters help to give the planetary power to the table as their “seals”, much as in the same way the names of the four kings lend their power to the table as well.  As for the angels, the angelic names are more important for me than their seals; after all, you don’t need a spirit’s seal to conjure them so long as you have their name, and so long as you have their name, you can develop any number of sigils for that name by which you can conjure them as effectively (or nearly so).  Plus, on the lamen itself (which we’ll discuss in the future), it’s the name that’s given the most prominence rather than the seal, which is comparatively hidden and nestled inside the hexagram.  It’s not that we want to bring the full presence of the angel to the table, either, but just their attention; I feel like this is more appropriate for just using their name rather than their fullness.  All this effectively interprets “the names of the seven planets and angels ruling them, with their seals or characters” as referring to the names, angels, and seals of the seven planets, not the names and characters of the angels and of the planets, nor the names and characters of the angels and also of the planets.  This final point really is up to just how specifically you want to interpret the DSIC description here, and is probably the most serious linguistic point of contention between how different people want to design the table.  However, in doing it this way, we also end up with something that’s on the same scale as the GTSC table combined with Satyr Magos’ design above, and yields a slightly cleaner and simpler design choice.

Moving on from that, what order do we put the planetary stuff in?  There’s no order given in DSIC for this, but given that the order of the Scale of Seven from Agrippa (book II, chapter 10) starts with Saturn and proceeds towards the Moon in descending geocentric distance order, I would think that order would be the most sensible to use.  Of course, you could go the other way, going from the Moon up to Saturn.  I don’t think it actually matters much, but as we’ll see in a bit, I think there’s a good argument to be made for the descending geocentric distance order, especially as we’ll see more about in a bit.  Fr. AC in GTSC agrees with this, that one should use the descending order of the planets, and Fr. RO uses this same order in his Modern Angelic Grimoire and RWC.  Both Fr. AC and Fr. RO use the same image in both their respective books to illustrate why this might be the case, the famous design of the geocentric celestial spheres according to Peter Apian’s 1539 work Cosmographia:

While we’re looking at this diagram, by the way, we also see why Fr. AC used the genitive forms of the names of the planets in his table design, because that’s what he most likely read according to this specific diagram.  Properly speaking, however?  Note the word “COELṼ” (read “coelum”, literally “heaven”) to the left of the glyph for Saturn; this should be read as “Coelum Saturni”, or literally “Heaven of Saturn”, and likewise “Coelum Iovis” as “Heaven of Jupiter”.  If we just wanted to use the planetary names on their own, we’d write the names in the nominative case instead: Saturnus, Iovis/Iup(p)iter, Mars, Sol, Venus, Mercurius, Luna.  I’m pretty sure the case-based linguistics of Latin tripped Fr. AC up, leading him to use the wrong form of the planetary names.

Anyway, back to orders.  Interestingly, Fr. RO uses another order instead for SS: going in the direction of the names of the angels (counterclockwise due to the right-to-left nature of Hebrew) he uses the order of Saturn, Mercury, Jupiter, Venus, Moon, Mars, Sun.  This doesn’t match the distance order, weekday order, or even weight order of the planets (according to their planetary metals, as I discussed once long ago, that of Saturn, Mars, Venus, Moon, Jupiter, Sun, Mercury).  First, compare the following two Tables of Practice he’s put out, the older one from RWC that uses the four archangels and the distance-based order, and the more recent one (posted on his own Facebook page) that uses the four kings and this new weird order.

I know where he got it from: it’s the association of the planets to the elements and directions according to Cornelius Agrippa’s Scale of Four.  Note how Mercury and Saturn, associated with Water, are placed by Egyn in the North, associated with Gabriel the angel of Water in his version of the table; Mars and the Sun, put by Oriens in the East, associated with Michael of Fire; Jupiter and Venus, put by Paymon in the West, associated with Raphael of Air; and the Moon, put by Amaymon in the North, associated with Uriel of Earth (along with the fixed stars according to the Scale of Four, but which aren’t associated with any planetary angel).  Though he never mentions it in SS, this is essentially Fr. RO’s hiding of his old Table of Manifestation layout from his earlier stuff; Fr. RO is organizing the planets according to their elemental associations, according to Agrippa’s Scale of Four (book II, chapter 7).  While I wouldn’t call this an order, it is an arrangement with its own internal logic.

This is classic Fr. RO stuff here.  Using this same organization for the Table of Manifestation as he uses for his Table of Practice is not an approach that I disagree with, given what Fr. RO uses his Table of Manifestation layout for, but it’s not one I particularly like for the table for DSIC.  I still prefer the descending distance order of the planets, myself, but Fr. RO’s arrangement is definitely a valid approach if you take a primarily elemental/directional approach to arranging things on the table from our perspective as incarnate human beings on the Earth—which we necessarily do.

But there’s also one more issue at play here: the specific names to be used.  Fr. RO and Fr. Acher use the Hebrew names as given in Cornelius Agrippa’s Scale of Four; this is simple enough.  However, this isn’t precisely in line with other sets of planetary angel names.  Granted, many of the names are similar, but not identical, and it shows.  GTSC, for instance, use the names as given in the Heptameron of Pietro d’Abano, and Erneus put out another version of his table that uses a faithful Hebrew rendition of the same names rather than those used by Cornelius Agrippa (note the subtle differences in the Hebrew in the outer ring).

So there’s also some contention about the exact spelling of names.  To give a comparison between the different versions we’re looking at, here’s a table that shows the various spellings that are common for DSIC Tables of Practice from a variety of sources:

  • The Heptameron of Pietro d’Abano, which gives the names in Latin.  These are the same names given in DSIC itself, with the same spellings.
  • Cornelius Agrippa’s Three Books of Occult Philosophy.  He gives them in both Hebrew and Latin transcription.
  • Erneus’ version of the table above, which gives them in Hebrew.
  • GTSC itself, which gives the names both in Latin and Hebrew.  The Latin names are identical to that of the Heptameron.
  • SS itself, which gives the Latin names as given in the Heptameron, but frustratingly, two different Hebrew spellings: one for the Table of Practice (which agrees with Agrippa), and another set that appears to be closer to Erneus and GTSC, but with a number of differences, too.
    • There also appear to be some typos: the Hebrew spelling of Gabriel in the Table itself matches everything else, but the lamen omits the letter Yod (giving us “Gabrel”), and the Hebrew spelling of Haniel in the Table uses an initial Aleph instead of Heh (giving us “Aniel”).  I won’t mention these typos as specific spelling differences, however.
    • Annoyingly, RWC (the old Gates texts upon which SS was based) use a different set of spellings on some of the lamens themselves, but which agree with Agrippa’s Hebrew: the angel of Saturn is given as צדקיאל, that of Jupiter צפקיאל, and that of Mars כמאל.  Oddly, the typo of Gabriel as lacking the letter Yod in his lamen is still present.

This gets us the messy table below to compare a variety of all these angel spelling names:

Latin Hebrew
Heptameron Agrippa Agrippa Erneus GTSC  SS
Saturn Cassiel Zaphkiel*† צפקיאל קפציאל § כאססיאל ¶
Jupiter Sachiel Zadkiel* צדקיאל זכיאל סאחאל ¶
Mars Samael Camael כמאל סמאל סאמאל ¶
Sun Michael‡ מיכאל
Venus Anael Haniel האניאל ענאל ענאל or אנאל ‖ אנאל
Mercury Raphael‡ רפאל
Moon Gabriel גבריאל גבראל

* Agrippa renders Tzaddi as “Z” here according to the custom at the time of Hebrew transcription, so these should probably more accurately read “Tzaphkiel” and “Zadkiel”.  Likewise, he renders Qoph as “K”, which would give us an even more faithful rendition of these names as “Tzaphqiel” and “Tzadqiel”.
† Mistake in the text; Agrippa has “Zaphiel” (or, reading Z as Tzaddi, “Tzaphiel”).  “Zaphkiel” (or “Tzaphqiel”) is given in Agrippa’s Scale of Ten, as expected.
‡ Agrippa swaps Michael and Raphael such that Raphael becomes the angel of the Sun and Michael the angel of Mercury, which is definitely a thing seen in many grimoires of the time, which is also repeated in his Scale of Twelve when it comes to the corresponding sephiroth.  I swapped them back to fit in with modern/conventional practice.
§ This Hebrew spelling of the angel of Saturn in Erneus and GTSC would more faithfully be transliterated as “Qaptziel” and could arguably be transliterated into Latin as “Cassiel” (← Qassiel ← Qafsiel ← Qaptziel, account for the Hebrew combination of the /f/ and /p/ sounds).  While reasonable on its own, I can’t help but wonder if this is a case of propagated dyslexia, because swapping Qoph and Tzaddi here gets you the same spelling as in Agrippa.
‖ GTSC gives both spellings, one that starts with `ayin and one that starts with ‘aleph.
¶ Fr. RO seems to have naïvely transliterated the names from the Heptameron back into Hebrew, as some of these spellings seem really unlikely.

There’s a lot more variation in the Hebrew spellings because we don’t really have consistent or reliable Hebrew spellings for these angel names besides what’s given in Agrippa; the usual approach, it would seem, is to take the Latin names from the Heptameron and back-transliterate them into Hebrew, which gets us such varied results.  I don’t much care for this approach, honestly, but it’s not an unreasonable one, especially if you can trace back the root meanings of the theophoric names or use a bit of numerological magic to finagle them into shape.  I haven’t really seen a lot of reliable and historical Hebrew spellings for these angels besides Agrippa, but that might just be my own lack of literature and infamiliarity with texts that others might be more familiar with.

With all these variants above, what would I recommend?  Honestly, since I’m not sure where the Hebrew spellings of the angels came from in Agrippa, or whether they shared an origin with the Latin ones and one set or the other got corrupt, or one set formed the root for the other via transliteration.  While the spelling of the angel ought to matter, I think practice shows that all these names are, even if they are fundamentally different, just synonyms for the same spirit, so that Cassiel is Qaptziel is Tzaphqiel; heck, “Cassiel” itself is such a problematic name, as it was spelled in so many damn ways in the old grimoires, including Captiel, Caffriel, and Cafriel (cf. the Munich Manual entry on planetary conjurations, which has the same origin as the Heptameron of Pietro d’Abano); this could be explained as misreading the lowercase “f” as a long s “ſ” (making the original spelling like Caffiel which was reinterpreted as Cassiel, as in Caſſiel) or the other way around.

My recommendation, at the end of the day, is to pick a set of names from a single source that you like and stick with it.  Experience and reports from many magicians the world over show that they all basically work.  That said, if you wanted to go with Hebrew, I don’t suggest Fr. RO’s Hebrew spellings from SS.  As much as I love the man, I wouldn’t trust these spellings here.  They don’t match the spelling pronunciation rules that are typically used for Hebrew, even for magical names; I’d recommend most going with either Agrippa or GTSC for the Hebrew spellings.

And, one more final note about writing the names themselves and in what script.  Given the late origin of DSIC and the fact that the four kings don’t have a readily agreed-upon spelling in Hebrew, it’s probably best for the sake of uniformity to use the Latin spellings of all the names on the table.  Consider, after all, that all the names and words for the wand, pedestal, and lamen are written in Latin; it follows that those on the table should be, too.  Again, this might have been an innovation by Fr. RO and/or Fr. Acher, who used Hebrew for the names of the angels and, in Fr. Acher’s case, the planets.   However, the lamen design from DSIC does have the name of “Michael” emblazoned on it in Hebrew as well as in Latin, so…I think it could go either way.

If, however, you choose to use Hebrew, at least for the angelic names, then there’s also the option of either using plain old square script that Hebrew is normally and conventionally written in, or the use of the Celestial Script as described by Agrippa (book III, chapter 30), which I personally like doing for planetary, stellar, and celestial angels generally (though I give the square script to the elemental angels as well as the honest-to-God truly-divine seven archangels, but that’s another topic for another day).  The Celestial Script is just another form of Hebrew, using more angular lines and ring-marks to imitate both constellation lines on star maps as well as the ring-mark characters on a variety of magical literature from the classical and medieval periods; this was either introduced or propagated later on by Agrippa with other magical scripts of the time.  While I like using Celestial for writing the names of the planetary angels, I seem to be an outlier in that (except for when I see people using my own designs); Fr. RO doesn’t advocate for this use in either SS or RWC explicitly for his Table of Practice, but I believe I got the idea from the discussion groups in his class (I think).  It made sense to me at the time, given that these entities are celestial beings, and Fr. RO does use the Celestial script for the names of the planetary angels on the lamens themselves.  I just followed suit and used the same font for the table, as well.

And then, related to this point about linguistics, there’s the Fr. AC’s decision in GTSC to spell the four kings out in Greek, which…honestly I don’t understand, and which he doesn’t explain.  I’d just use the Latin spellings, honestly, especially as we don’t know whether, for instance, Paimon should be spelled in Greek script with an ōmega or omikron (ΠΑΙΜΩΝ or ΠΑΙΜΟΝ).  Strangely, Fr. AC spells it ΠΑΥΜΟΝ, interpreting the Latin spelling of “Paymon” to use the equivalent Greek letters, but that’d interpret the Latin “y” as a Greek upsilon, which would give it a pronunciation more like “paow-mon” or “pav-mon”; ditto for Amaymon (“ah-maow-mon” or “ah-mahv-mon”).  I think these are both errors, to be honest; after all, Latin y is not the same letter with the same pronunciation as Greek upsilon.  Consider, further, that the name Amaymon comes from the Arabic jinn Maymūn (ميمون), meaning it should be an “i” sound (Greek iōta, Latin i or y) rather than a “u” sound (which Greek upsilon would imply).  It also ignores the fact that the name “Oriens” is literally just the Latin word for the direction East.  But, even more than that, it also goes against his own reasoning in GTSC for using the Latin names of the angels instead of Hebrew:

I debated for a time whether I wanted to use English, Hebrew, or angelic script for the names of the angels and the planets.  I believe any of these choices are valid and would be appropriate.  However, I eventually settled on the English versions, since this is the language I will be requiring the angels to speak in.

Honestly, to avoid any such confusion, I’d recommend spelling at least the names of the four kings in Latin, and neither guess at what their Greek or Hebrew counterparts would be.  The other names for the angels, both elemental and planetary, could be spelled in any such language or font, but there’s a strong argument to be made to just use the Latin versions of the names (using the English alphabet, which is functionally equivalent) for them all for the sake of standardization and to go along with Fr. AC’s reasoning.

Search Term Shoot Back, September 2015

I get a lot of hits on my blog from across the realm of the Internet, many of which are from links on Facebook, Twitter, or RSS readers.  To you guys who follow me: thank you!  You give me many happies.  However, I also get a huge number of new visitors daily to my blog from people who search around the Internet for various search terms.  As part of a monthly project, here are some short replies to some of the search terms people have used to arrive here at the Digital Ambler.  This focuses on some search terms that caught my eye during the month of September 2015.

“what are the corresponding planet of each mansion of the moon” — In the system I learned it (I’m unsure if there are others), there are 28 lunar mansions that cover the 360° of the Zodiac.  The first lunar mansion starts at 0° Aries, and is given to the Sun.  From there, the lunar mansions are given to the planets in the weekday order: Sun, Moon, Mars, Mercury, Jupiter, Venus, and Saturn.  Since there are 28 mansions and 7 planets, this cycle repeats four times, so that the Sun begins at the same zodiacal position that the cardinal signs (Aries, Cancer, Libra, Capricorn) do.

Planetary attributions of the Lunar Mansions

“the seven days conjuration” — A conjuration done over seven days, a period where you do seven conjurations in seven days, what?  Be a little more specific.  There are works like Pietro d’Abano’s Heptameron, literally meaning “a period of seven days”, referring to the planetary conjurations one can best perform on each of the seven days of the week; we find a similar text in the Munich Manual.  Alternatively, you could do the usual conjuration ritual, such as Trithemius’ rite, and conjure each of the seven planetary angels on your own across the seven days of the week; this is the basis for Fr. Rufus Opus’ Seven Spheres book, and his occasional project Seven Spheres in Seven Days.  It can get a little rough, especially with a crazy mundane schedule, but it’s worth it.

“which month,day and hour is the spirit of jupiter” — It…this doesn’t, I can’t.  Unless you’re talking about a particular zeitgeist, the spirit of Jupiter abides as long as the planet and its planetary sphere does, so…yeah.  The spirit of Jupiter can always be contacted regardless of the time, but there are some times that are better than others, and for this we use the system of planetary days and hours.  For instance, the planetary day of Jupiter is Thursday, and there are planetary hours of Jupiter scattered regularly throughout the week, so if you can get something set up on a planetary day and hour of Jupiter, it’ll be all the better.  As for months, this gets a little less regular.  Our system of months tracks the procession of the Sun through the Zodiac, more or less, but we don’t care about the Sun as much as we care about Jupiter, so we’d like to know when Jupiter is particularly strong in the Zodiac.  This can get into a whole talk about electional astrology, which is beyond the scope of this entry, but suffice it to say that you should check an ephemeris and read up on William Lilly’s books to figure out when Jupiter itself will be powerful.

“can you give back eleke” — First off, I don’t know why I keep getting hits on Santeria stuff on this blog, as it’s hardly ever germane to the usual stuff that goes on.  But…so, from what I gather, receiving your elekes is a ritual available to anyone with a godparent in Santeria, and is one of the important steps one takes in the process of initiation into the priesthood.  These are like your formal introductions to the orisha of those elekes, and…I have a hard time understanding why you’d want to give them back.  They’re yours, and yours alone.  Giving them back or intentionally losing them seems, to my mind, like a massive slap in the face to the orisha to whom you’ve been introduced.  If you didn’t want elekes, unless you were only a child without agency when you received them, then you shouldn’t have gone through the ritual to get them, but…I mean, hey, it’s your life.  They won’t interfere with anything, but if you don’t even want that much, go ahead.

“hermeticism homosexuality” — Bear in mind that the idea of homosexuality (yes, the mere concept of it) is recent, dating back only to the 1800s.  There is nothing ancient about homosexuality as a concept, and while we may read homosexuality into older works or storied relationships, it is folly to think that ancient peoples may have thought of themselves as inherently preferring one sex/gender to the other.  Sexuality was something that one did, not what one was (much like the guys who claim straightness but keep hooking up with dudes on Craigslist, no homo).  As a philosophy or branch of occult fields, there is nothing prohibiting or encouraging homosexuality in Hermeticism; depending on the context, homosexuality can be as much a hindrance or a help as much as heterosexuality is, and both same-gender sex as well as different-gender sex have their place.  Are they interchangeable?  I’m not convinced one way or the other on that, but I can’t see why they wouldn’t necessarily be, even though they may have different mechanics physically and spiritually.

“hermetic laws on gender and transgender people” — Like with the above search term, there’s no real connection or law that connects the occult philosophy of Hermeticism to things like gender, especially modern notions of gender that go beyond the simple gender binary that has stuck around humanity for thousands of years.  And no, although the Kybalion talks about the “laws of polarity” or gender or whatnot, that shoddy text is distinctly not Hermetic, and should not be considered as such for this topic.  For everything I’ve seen that matters in Hermetic magic, what gender you identify as does not matter, nor does the sex your body has.  If a specific item or body part is called for from a particular sex of a human, animal, or plant, I think it’s better to use that particular sex rather than think that the sexes are completely interchangeable; just as straight sex and gay sex have different powers, so too (as I see it) do male and female bodies.  Still, from the perspective of who can or can’t do magic, gender has no role to play in it.

“mercury as a cock with a human head” — Usually, in the Mediterranean, we find humanoid bodies with animal heads, like those of Egypt.  The Greeks tended to frown on these zoocephalic gods, preferring their strictly anthrophomorphic gods like Apollo or Serapis.  However, even with some of the more bizarre gods, like the human-torsoed cock-headed snake-legged Abrasax, we tend to find that the body is human and the head is animalian.  I know of no representation of a rooster with a human head as a representation of Mercury or Hermes, but perhaps you mean a phallus?  In which case, the word you’re thinking of is “herm“.

“massive cock painting” — I prefer photographs, myself, and I prefer GIFs more than those.  There’s a whole subreddit for that, too, you know!  I’d link to it, except that I’m writing this post at work, and….yeah.

“fuck a golem jod he vau he” — Please don’t fuck a golem.  The only way to turn a golem off is to kill it, at which point you turn sexy-divine lithokinesis into necrogeophilia, and that gets really weird.

“is using corse salt for protection godly or not?” — Well, you won’t find circles of salt described in the Bible, to be sure, but then, neither will you find lots of what the Catholic Church does, either.  That said, the Church uses salt in its consecration of holy water, as there’s some virtue in salt that helps to sanctify or cleanse stuff spiritually.  Plus, it has lots of use dating back hundreds of years, if not millennia, as a means of protection from spiritual harm.  It’s up to you to judge how godly that may be, but I’m on the side that it’s quite alright to do so.

“what happens if i summon spirits good” — You did it!  You summoned a spirit.  Congratulations!  Now, I hope you thought this part out, but…why did you summon a spirit?  To what end?  Anyone can pick up a phone and call a number; what’re you going to talk about?  What will you ask for?  That’s the real part of summoning that nobody seems to think about ahead of time, and the whole point of the act.  Why bother establishing contact with a spirit if you have nothing to talk about?

“symbols on solomons wand” — In book II, chapter 8 of the Key of Solomon, we find described the method to create the Wand and Staff, which involves inscribing the symbols from the Key onto the wand in the day and hour of Mercury.  Joseph Peterson on his Esoteric Archives gives a lot of Hermetic wand lore, and in his notes on the Key of Solomon, he believes that the symbols from the Key are nothing more than corrupted Hebrew for “AGLA + ON + TETRAGRAMMATON”, the same names used on the wand in Trithemius’ ritual of conjuration.  I used both the Solomonic symbols and the Trithemian names on my own personal Wand of Art, and while I’m not entirely convinced that they’re supposed to be the same thing, they do have similar feels to their power.

Ebony Wand Design

“bath soap by geomancy figure spell” — While geomancy and magic get along great, I’m less sure about things like herbs and physical supplies used with the geomantic figures; the most I’ve seen geomantic figures used in magic is by turning the figures into a sigil that can be used to augment other works.  However, by using the elemental, planetary, and zodiacal attributions to the geomantic figures, we can get a reasonably good idea of the herbs and materials needed to make a soap or wash for each figure, such that if we wanted to be empowered by the figure of Puer, we’d make a soap using warming, spicy, woody, Martian herbs and inscribe the figure or a sigil of the figure into the soap before using it in the shower.  I suppose it could be done reasonably well this way.

“names of all seven archangels including rose” — I’m not sure what set of archangels includes the name “Rose”, unless you’re a diehard Whovian who has a special place in their cosmology for the 10th Doctor’s companion.  For me, the seven archangels of the Orthodox tradition are Michael, Gabriel, Raphael, Uriel, Barachiel, Jehudiel, and Sealtiel.

“items to put on a sagiterian prayer alter” — Please note that you put things on an altar, but change them when you alter them.  This misspelling never fails to get on my nerves.  As to the actual search term, the idea of setting up an altar or shrine to a constellation is…unusual, though not entirely out of reason.  Normally, when worship of celestial bodies is called for, it’s directed to the seven planets, hardly ever to the fixed stars, and much less any particular constellation of the Zodiac (notable exceptions being stars like the Behenian stars, the Pleiades, and so forth).  I suppose, if you wanted to set up a particular shrine to honor the constellation and god of Sagittarius in a standard modern Western fashion, you could use colors associated with the qabbalistic path of Samekh (= Temperance = Sagittarius), which are blue, yellow, green, and dark vivid blue; Jupiterian symbols and effects, such as a scepter, a battle-crown, bay and palm leaves, and so forth; symbols that relate directly to the sign, such as statues of centaurs and bows and arrows, and things that relate to the goddess Artemis; etc.  Setting it up facing the north-north west would be appropriate, or setting it up to face the east and working with it when the sign Sagittarius rises.  Making offerings in sets of 6 is appropriate, as the letter Samekh has the gematria value of 60.