Unlocking the Observatory: Summary and Recap

Where were we? We’re in the middle of…or, rather, we finally finished 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.  This whole time, I’ve been reviewing the various mechanical processes and theoretical underpinnings of this unique form of numerological sortilege with an astrological flair, and although it’s historically been super obscure to the point of nearly being forgotten, it shows an insightful approach to not just divination but to spirituality as a whole.  The only thing left to do now, I suppose, is to give a summary of what we’ve discussed in these past 17(ish) posts with some 70k words (maybe like 55k or 60k if you ignore quotes) between them all (though that doesn’t count the 92-page translation I put out as well).

Although I started this whole series off by introducing my own translation of FZT (which is a good read in and of itself, I claim, especially since I don’t think anyone else has translated it into English yet), I’ve tried in these ensuing posts to go over and offer my analysis and commentary on not just the text but the system as a whole.  I could have done this as part of my translation itself or moved all of this to its own ebook, but…well, let’s be honest, all my own unanswered questions would necessarily render such a thing distastefully incomplete, and I don’t like putting out incomplete works like that.  Plus, given how rare it is to find anything about this system anywhere, I figured that just putting my analysis and commentary online for all to read was the better choice to actually explore (and get others to explore) this neat system that gives us a lot more than just what it seems.  Reading and translating FZT was just the start of such a research project, but there was so much more to say than just what could be communicated in a translation.

First, an index to all the posts in the series for ease of access.

  1. A literary overview of ZT, the few texts that touch on it, and the different versions of ZT out there
  2. How and why ZT gets attributed to the French erotica author André-Robert Andréa de Nerciat
  3. The story behind and the characters of ZT’s “Great Cabala”
  4. The symbolism of the seven Planets, the nine Planetary Intelligences, and the 99 Numbers
  5. The tiles and tools used for divination
  6. The various figures used for divination, and the Great Mirror itself
  7. Discovering and looking at the ideal triangles in the Great Mirror
  8. The Great Dial and how to use “option-whittling” to determine times or other details
  9. The 28 natal stars, their angels, and the confusion of how they fit into the system of ZT
  10. Likely origins for and methods of attributing the lunar mansions, their angels, and planetary numerological symbolism into ZT
  11. The approach, method, and concerns of divination
  12. The case study of from Karl Kern’s 1933 book on ZT
  13. More techniques and notes Kern’s 1933 book on ZT
  14. The six periods of life of humanity and how we come to be
  15. The spiritual theory, cosmology, and theology of ZT
  16. The spiritual practices and purposes of ZT

So, what did we learn from this blog project of mine?

  • The “Telescope of Zoroaster, or, Key to the Great Divinatory Cabala of the Magi” is a form of divination that can be described as sortilege performed with hexagonal tiles making use of a mix of planetary, zodiacal, and (especially) numerological symbolism.
  • The earliest version of ZT was published in French in 1796, but was only popularized several decades later in a slightly abridged (and somewhat incomplete) German version included in Johann Scheible’s 1846 Das Kloster as part of a compilation of other magical,  divinatory, and spiritual works.
  • This book, in whatever format, has never been particularly popular, and there is very little information about it out there.  The most publicity this book has likely ever gotten was with Ouroboros Press’ 2013 translation of the Das Kloster version.
  • Even then, however, its historical obscurity is only one factor leading to its overall unpopularity, the other being its seeming obfuscated nature.  Many people say that the system feels incomplete while also being super complex, which is partially a result of how ZT itself frames and teaches its own system, but also partially a result of how ZT got transmitted through several translations with some parts getting abridged and other parts getting omitted.
  • What the ZT text does, however, is provide a handful of principles that allows one to build up a system of divination. Given that each digit has a meaning, each compound number that makes use of those digits has a meaning built upon them; given that each corner of a hexagon has a planetary meaning and vibe associated with it, breaking down a larger hexagon into a smaller one allows for sub-planetary meanings and vibes.
  • By extrapolating from simple principles, ZT allows for a profoundly detailed approach of divination while relying on just a handful of basic notions.  The real work in learning ZT doesn’t lie in memorization of a large number of symbols or elaborate methods of construction, but just in putting 2 and 2 together to get 4.
  • However, although ZT presents itself primarily as an introductory manual of divination, it couches this in an overall spiritual and mystical practice of coming to commune with spirits to uncover more profound secrets in the cosmos.  For however important learning matters of the future might be, this is just the hook to get one started.
  • Although the text goes on about the “Great Cabala”, it has very little in common with the actual Jewish, Christian, or Hermetic styles of mysticism and spiritual practice normally associated with that word.  Indeed, there’s really nothing Jewish or Hermetic about ZT besides it participating in the overall genre of Western esotericism.

Of course, despite all that we’ve covered, there’s still a handful of unanswered questions I have regarding ZT, or at least things I’m still unsure of or not wholly convinced about:

  1. Obviously, the ascription of ZT to André-Robert Andréa de Nerciat is a long-standing one that has some historical backing, and while I’m inclined to accept it, it still all feels based on a lot of evidence that I can only find to be circumstantial at best and which is otherwise uncritically repeated by so many others.  Despite all her other theories, Susan Audrey Grundy’s theory that if we can connect the text to Nerciat at all, it’s likelier to my mind (given the stark difference in topics normally associated with Nerciat), that he picked up the book and polished it up, republishing it in one way or another rather than him being the one to write it.  Still, it’s something I personally have questionable feelings about either way.
  2. Even if the text was written by Nerciat, to whom might the Epistle be addressed?  Abbé Baruel in his Memoirs says that it was addressed to “one of those Princes whom the author does not name, but whose zealous pursuits in these mysteries are sufficiently known by public report”.  Is this just Barruel dramatizing something, or is this an actual reference to an actual French royal?
  3. The order of the planets in the Great Mirror (Sun in the middle, then Mars, Venus, Jupiter, Mercury, Moon, Saturn counterclockwise, or alternatively Moon, Mercury, Jupiter, Venus, Mars, Saturn clockwise) suggests a working knowledge of some basic astrological principles, (what the malefics and benefics are, what the planetary rulerships are of the signs that are in opposition to each other, etc.) but it only suggests it.  Is this an actual pattern or arrangement from some other system or book?
  4. Likewise, when ZT mentions “Sol in medio” is some maxim from occult sciences, exactly which is it referring to?
  5. The way the primary digits are associated with the planets (1/9 for the Sun, 2/8 for the Moon, 3 for Venus, 4 for Mercury, 5 for Saturn, 6 for Jupiter, 7 for Mars) may be based on that given in Das Große Planeten-Buch with some changes for a more balanced system, but is this really the case?  Or is there some other system of numerology that was available to the inventor of ZT that shows this more clearly?
  6. Likewise, the way the lunar mansions natal stars work in ZT seems to be indebted to the same (or similar) astrological tradition as Das Große Planeten-Buch, though of course there are some differences.  Is it really the case that ZT based its system on DGPB and adjusted it to fit with the geometry of the Great Mirror, or did it have another source/tradition in mind?
  7. Following up on the angels of the lunar mansions natal stars, what the heck is up with ZT throwing in the three archangels Gabriel, Michael, and Raphael and replacing three of the traditional lunar mansion angels?  Similarly, why are some of the angels out of order compared to what we’d normally expect?
  8. Although we can pick up on a trend of how the compound Number tiles are assigned to the non-Intelligence houses (or angels) of the Great Mirror, I can’t say that we have an actual pattern that says specifically why certain tiles get put into certain houses, and there are even a few assignments of tiles to houses/angels that just seems outright incorrect (like a Venus tile given to Raphael in the orbit of Mars or Kiriel in the orbits of Mars and Saturn lacking a Saturn tile).  What’s the deal with those?  Surely they could be swapped with other tiles that make more sense.
  9. On top of the actual technique and content of ZT, there’s also a number of literary or historical references in ZT that I haven’t yet been able to pin down from the text itself:
    1. Sixth Step: the whole bit about Ferval seeing his mistress at midnight
    2. First Supplement:
      1. The historical event regarding the accident of grave bodily harm suffered by a member of the French royal family in 1792 (maybe, as the Alexandre de Danánn book says, is just a reference to Louis XVI?)
      2. The prophecy of the popes mentioned, which may or may not be the Prophecy of the Popes
    3. Second Supplement: the bit about Fortunatus

Maybe the answers to those questions lie in some forgotten French or German book on numerology or astrology, or maybe they could be found in some arcane French Revolutionary tome on the spirituality of its time.  Maybe they’re indicative of some system I’m not smart enough to figure out whose principles aren’t as clearly indicated as some of the others in ZT, or maybe it’s just a matter of leaving things to arbitrary choice in the mind of the designer and inventor of ZT.  Either way, they’re not things I have an answer to as yet, but maybe—despite all the other maybes—we might have an answer to them one day.

On top of all of those doubts and questions, I also have a few musings of my own that I couldn’t really fit into any of the earlier discussions, and would be good for further implementation and practice to sort out and sift through:

  1. It’s clear that the author of ZT tries to stretch its numerology out as far as it will go: consider how the number 5 is associated with Saturn/Lethophoro “the only essentially evil Intelligence”, and also that Senamira (the Evil Principle) is depicted as a five-pointed star, and Sokak (the Evil Spirit) as a five-pointed shooting star or a pentagon.  What, then, should we make of the number 3, given that Sisamoro and Sallak (the Good Principle and Good Spirit) are depicted as triangles?  Personally, I’d be inclined to think that the number 6 should be the opposite of 5, given how Jupiter is positioned directly opposite of Saturn in the Great Mirror and how all the tiles have a hexagonal shape, and how 3 is given to Venus/Erosia which…I guess?  Maybe 3 represents the Good Principle and Good Spirit as some sort of descent from the Christian Trinity, and yet, it’s spirit-Sun/Psykomena (9) that’s described explicitly as a rival and counterbalance to Lethophoro, so it’s an interesting play of numbers here.  How far should such number symbolism regarding good and evil be taken, and how else might that play 0ut in the system of ZT, both from a divinatory approach and a grander spiritual approach?  Is it reasonable to “correct” the glyphs used for Sisamoro and Sallak to use six-pointed stars (or even nine-pointed stars) instead of a triangle in this light?
  2. The notion of the Great Mirror being an instrument for scrying and spirit communication is a tantalizing one, though one only barely mentioned or hinted at in ZT.  It’s clear from the Epilogue that this is a thing, but the text doesn’t say in any way how it might be a thing.  Is it a matter of contemplation and gazing, letting the mind frazzle out on seeing a pattern of numbers to get enmeshed in the deeper connections between them?  Is it a matter of performing an invocation or plea to the angels associated with the numbers in turn and asking for their help in coming to understand the tile specifically and mirror as a whole?
  3. Likewise, what do we do with the knowledge that we have the two Spirits per person of Sallak and Sokak in addition to one’s natal angel provided by their natal star?  Is there a corresponding Sallak and Sokak per angel, leading to a total of 56 total Spirits (2 × 28)?  Or, conversely, are the directives and guidances of Sallak and Sokak delegated to one’s natal angel, who directs them accordingly?  It seems like the Spirits are on the same ontological level as the Intelligences, and given that the angels seem to be subservient to the Intelligences, this should suggest that the Spirits are above the angels, so that first option seems wrong.  So what’s the specific interplay between our individual Good and Bad Spirits and our natal angel?  Do we approach and petition Sallak and Sokak for communion as we would with our natal angel?  For that matter, do we call upon Sisamoro for assistance?  How do we factor in the Supreme Being or Pure Spirit into all of this, into a whole sort of ZT “religious practice”?
  4. Being someone generally inclined to all the corrupted, corrupting “so-called arts” that ZT loves to hate so much, it annoys me that ZT decided to double up on the Sun and Moon to make a set of nine planets instead of making use of the North and South Nodes of the Moon, which would be the more logical pair of things to pick up on to make a set of nine (and which are still used to this day heavily in jyotish astrology).  Heck, even the arrangement of the Intelligences in Plate VI (the one for all the angels on the Great Mirror) puts Genhelia and Psykomena as the odd ones out, making a natural suggestion that Genhelia/matter-Sun/digit 1 could be given to the North Node, and Psykomena/spirit-Moon/digit 8 could be given to the South Node.  Of course, the whole basis of symbolism and everything is based on these being solar and lunar entities, so could the system be amended to include these astrological entities, or could they just be slid in as-is?
  5. Given how the Epistle is written to some noble by some admirer (e.g. Nerciat), the suggestion is strong that at least this part (as well as a few clues in the ZT text itself) was written towards the end of the French Revolution, the dissolution of the monarchy, and the abolition of the nobility.  Given the strange times that we can presume that ZT was written in, how much of what we find in ZT regarding its spirituality and cosmology can we find in then-current beliefs?  Is this all stuff that comes from the ancien régime, or was there a subtle Revolutionary spirituality within it, as well?  I’m far from educated on the history generally or nuances of spirituality specifically in that troubled time, but it’d be cool to compare and contrast what we find in ZT with other texts from the same time period.
  6. I wonder about the actual process and sequence of ZT’s development, because some parts of the system seem tacked on.  Like, the whole bit about the angels feels slapped onto the system as a way to expand it without it actually being necessary for the system itself, as do the 90 compound Number tiles being associated to the houses, but I don’t think this was done at the same time.  Rather, my feeling from the text (which I can’t really substantiate) is that the angels were given (or fitted) to the houses to determine their planetary rulerships based on their orbits first, then the tiles to the angels second.  Things like this intrigue me, because if I were to develop a system based on similar principles, there are a whole bunch of ways to go about such a thing in a other manners, so why did the inventor of ZT pick this approach?  Likewise, if they were tacked on and weren’t intended to belong to the system as originally envisioned, why would they have been included: for the sake of seeming completeness by an audience they were trying to market to, or because some student reminded them to include it?

These would be great things to consider for future research, at least from the active use, consideration, and development of ZT, and if not by me then by someone else.  (Don’t forget Calyxa’s excellent ZT toolset available for purchase from The Game Crafter for your convenience!)  After all, even if ZT doesn’t give us a treatise, it does give us a key, so maybe we just have to actually start using it to unlock the answers to some of these questions.  Maybe, if this post series helps get people more familiar and comfortable with ZT as a divinatory system and a spiritual system, it might get other people in on the game of this, as well.  That’d be my hope, at any rate—maybe not one so grand as the Epistle’s “restoration of this ancient moral gold in new crucibles”, but hey, it did anticipate this to be the work of centuries, after all, and it’s already been two.

But, at least for now, I’m going to put my copy of the Ouroboros Press translation back on the shelf, nestled amongst the other Nice Books or fine or rare editions I have.  In the nine years since I bought it, this has been the longest amount of time it’s spent off the shelf and on my desk or in my hands, but with this little project of mine coming to a close, it’s time to return it to its snug spot back up with the rest of the books—albeit with a few more friends that it picked up along the way it didn’t have before.  This time, however, I’m not putting the book back with the promise to actually read it and learn the system one day; I’m putting the book back having finally fulfilled such a promise, and having done so to such an extent that I’d never have imagined when I got the book back in 2013, not only having absorbed everything such a book can give, but also to have surpassed the book, dug into its own sources, and produced other work to keep up with it.  It feels pretty good, not gonna lie.

Of course, learning about a thing is one thing, but learning from a thing is quite another.  We might have learned plenty about the book and its system, but I hope that this little blog series of mine has also helped us learn from it, as well—not just as a method of divination, but about the methods and goals of spirituality itself.

(PS: Having learned from my readers with my Reviewing the Trithemian Conjuration blog project a few years back, yes, I plan on putting out a free PDF compilation of all these posts to allow for easier offline/printable reading.  I’m working on it as this post goes up, but I’m letting the posts get published and stabilize first to let the typos shake out and to give people a chance to comment on them first to incorporate any feedback.  Stay tuned for such a PDF coming out soon!)

Reviewing the Trithemian Conjuration: Recap, Summary, Variations

Where were we?  We’re in the middle of…well, rather, we finally finished 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).  This whole time, 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 earlier today we released the last in this series of posts.  The only thing left to do now, I suppose, is to give a summary of what we’ve discussed in these 21 posts that had over 92,000 (!!!) words between them all; for comparison, this series of posts is nearly 63× the length of the actual ritual text of DSIC itself.

First, an index to all the posts in this series for ease of access:

  1. Introduction to DSIC, the various actors at play, and the crystal ball used to view spirits within
  2. The pedestal for the crystal, the design of the gold plate, and the pedestal’s likely basis in the ostensorium of Catholic Christianity
  3. Introduction to the table, and the debate and decisions behind using either the four kings or the four archangels on it
  4. The planetary components of the design of the table for characters, seals, names, and angels
  5. Assembling the different components of the table together into a coherent design
  6. The basic design of the lamen for the spirits and what the divine names to use on it
  7. The planetary and spirit-specific components of the lamens used for spirits
  8. The design of the wand and the ring used for the ritual
  9. The nature and form of the candles and incense vessel used for the ritual
  10. The Liber Spirituum and its necessary or unnecessary role in the DSIC ritual
  11. The design of the magic circle and both its and DSIC’s origins or connections to the Heptameron of Pietro d’Abano
  12. The general ways to consider the construction and consecration of spiritual implements
  13. The specific concerns of materials, timing, and methods to construct and consecrate our DSIC implements
  14. Concerns about ritual attire and general preparations for purification before the ritual
  15. How to set up our temple generally, and specifically how to arrange the magic circle and conjuration altar
  16. How to orient the altar, set up the implements for conjuration on the altar, how to time our conjuration ritual, and whether to use a lamen or pentacle or both
  17. The ritual script and procedure for performing the DSIC conjuration ritual
  18. Advice on conducting yourself in the presence of spirits conjured and ideas on how to work with them
  19. Varying the prayer of conjuration itself to suit non-angelic or non-celestial entities to be conjured
  20. Guidance and advice on what to do when particular aspects of the conjuration ritual go wrong or unexpectedly
  21. Guidance and examples on how to adapt the language of DSIC to avoid Christian overtones in favor of alternate spiritual traditions
  22. BONUS: Francis Barrett’s own notes and approach to DSIC

So, what did we learn from this little blog project of mine we started back in May this year?  Let’s talk about some of the high points and conclusions we can draw, including some stuff that we didn’t place anywhere else in our earlier discussions:

  • The ritual text The Art of Drawing Spirits into Crystals is attributed to the Christian abbot Johannes Trithemius of Spanheim, but was most certainly not actually authored by him.
  • DSIC was first realistically published, despite older origins, in Francis Barrett’s 1801 The Magus.
  • DSIC serves as an implementation of conjuration based on many of the ideas, structure, and designs provided by Heinrich Cornelius Agrippa von Nettesheim in his Fourth Book of Occult Philosophy, referencing other entries in his earlier Three Books of Occult Philosophy.
  • DSIC takes Agrippa-style “good spirit” theurgic communion with spirits and combines it with Solomonic-style conjuration of “evil spirits”, especially from the Heptameron of Pietro d’Abano (which was translated into English and published with Agrippa’s Fourth Book).
  • Some elements of DSIC seem to be more Solomonic in nature and conflict with the Agrippan/theurgic content, and vice versa.
  • There are now largely two modern schools of implementing DSIC:
    • That of the independently-trained modern Hermetic magician Frater Rufus Opus (Fr. RO) as he taught its use in his Red Work series of courses (RWC) and, later, his Seven Spheres (SS) book, which collectively take a fast-and-loose approach that combines or elides some elements of DSIC in favor of good results fast.  Fr. Acher of Theomagica, also an early adopter of DSIC, falls in line with Fr. RO.
    • That of the by-the-grimoire Solomonic magician Frater Ashen Chassan (Fr. AC), who takes a stricter approach as he teaches it in his book Gateways Through Stone and Circle (GTSC) to carry out all instructions and designs as close to the letter of DSIC as possible.
  • Despite the desire of many to perform ritual texts “by the book” or “to the letter”, oftentimes without incorporating other grimoires or literary influence, doing so with DSIC is not possible due to how little is actually specified and how it seems to reference other occult texts.
  • The sparseness of DSIC has necessarily led to wide divergence and variability—and as numerous discussions and debates—in how magicians apply DSIC, especially with a popular resurgence in occult literature and practice generally, especially from non-Western methods of occult practice that aren’t necessarily Christian or Hermetic in nature, which was the expected milieu of the audience of DSIC.
  • Based on Google searching and analytics, it honestly seems like there wasn’t any modern interest to speak of (at least, recorded or publicly discussed online) in DSIC up until the end of the first decade in the new millennium.  There is at least one reference to this ritual, or something close to it, being performed in the 1800s (based on the description of a similar piece of equipment, the pedestal and crystal, in Frederick Hockley’s Occult Spells: A Nineteenth Century Grimoire), but little other evidence that the DSIC ritual was ever widely used.
  • It is known that Poke Runyon, aka Fr. Thabion, did bring up DSIC in his Ordo Templi Astarte (OTA) classes at least in the 1990s, but he never went into this text in depth either in the class or in his texts, presenting it merely as an example of crystal-centric conjurations of spirits within a more Ars Almadel-focused approach.
  • Additionally (hat-tip to the splendid Cole Tucker who told me about this after this post went up originally), Fr. Achad discusses DSIC briefly in chapter IV of his 1923 work Crystal Vision through Crystal Gazing, but only at a high level and in the context of crystallomancy and the use of scrying crystals generally.  Though some people have encountered DSIC by this, it’s unclear how many or how often that has happened.
  • Besides Fr. Achad talking about it and Runyon discussing it, it’s unknown how popular this ritual was in modern Western occult practice (I can’t find anything online about it) until late 2006, when Fr. RO began documenting his use of the ritual online and using it in his RWC and his fundamental angelic conjuration ebook (no longer publicly available), Modern Angelic Grimoire, and its corresponding goetic text (soon to be republished), Modern Goetic Grimoire.  Heck, it wasn’t even available on Esoteric Archives until April 21, 1999 (when I was in, like, fifth or sixth grade).  This means that, in reality, the modern application (and adaptations) of DSIC was essentially pioneered by Fr. RO, with Fr. AC coming onto the scene later with a refocus on Solomonic grimoire authenticalism/purism/fundamentalism.
  • As has been shown by Fr. RO and by the actual experiences and implementations of many who came after him, DSIC is a highly flexible ritual, and given how sparse it is in details and specifics, it could well be better considered as a ritual template instead of an actual ritual.  This flexibility allows for adaptation, both in terms of tool use, prayer phrasing, and even the general context of spiritual or religious traditions, so long as a basic understanding of a hierarchical cosmology and framework of receiving and applying divine authority to work with spirits is maintained.
  • DSIC explicitly calls for there to be two people in the ritual, both a magician who conjures the spirit and a scryer who facilitates the communication of the spirit with the magician.
    • This is exactly in line with the vast majority of Solomonic rituals going back to Hygromanteia and PGM times, if not earlier, which call for scryers or other assistants for the magician to be present, just in case the spirit appears to someone else besides the magician.
    • This further allows the magician to focus strictly on managing the overall ritual and temple space, freeing them up to handle any eventualities should and when they occur, as well as handling other ritual needs such as incense consumption or notetaking.
    • However, even though this is a best practice, most modern magicians forego having any assistants or scryers, since we tend to operate independently and alone.  Whether you as the magician operate alone or with a scryer is up to you, depending on your own visionary, discernment, perception, and scrying skills.

Then there are a few great points that were brought up in the course of the discussions and comments of these posts:

  • From Pallas Renatus on the pedestal: if we take the use of the single Hebrew letter Yod as the single-lettered divine name of God per Agrippa and the hexagram as a generalized (solar?) symbol of divinity, then the hexagram with central Yod is a sign of the radiating power and divinity of God into all the cosmos.  Placing this symbol upon the pedestal at the top gives it the centermost and highest symbol of divinity in the whole ritual apparatus: God radiating power and light downwards into and through the four archangels so as to empower and elevate, but also constrain and bind, the spirit present within it.  It is, in effect, “a bare-bones form of what the Table of Practice tries to accomplish in [grander] form, but extended into the third dimension”.
  • On Facebook, Erneus from Magia Pragmatica mentioned that the “ten general names” of God from Agrippa (book IV, chapter 6), which are those that form the bulk of the divine names for the lamen, has an earlier origin from St. Jerome in his “De Decem Dei Nominibus” which he lists as El, Eloim, Eloe, Sabaoth, Elion, Ieje aser Ieje (treated as a divine name), Adonai, Ia (dominus), Iao (dominus), and Saddai.
  • Another great tip from Erneus was that the divine name On (from the wand design) isn’t a Hebrew name, but a Greek one (το Ων); this on its own wasn’t surprising, but he tipped me off that Agrippa himself translates On as Eheieh (אהיה) in book III, chapter 11.  This means that, should one use Hebrew for the three divine names on the wand, you’d end up with three four-letter divine names: instead of Agla On Tetragrammaton, you’d have AGLA AHYH YHVH (אגלא אהיה יהוה).  Along those lines, if one wanted to use something comparable to “Ego Alpha et Omega” (Revelations 22:13), you could use something like אני ראשון ואני אחרון from Isaiah 44:6 (“I am the first and I am the last”, aniy r’išōn v’aniy ‘aḥarōn).  However, given the emphasis on Hebrew godnames (with the exception of “Tetragrammaton”), it’s unclear whether using On itself, either in Roman script or Greek script (ΩΝ) or Hebrew script (ון) really should be replaced by a Hebrew translation or not.  This is a variant that I’d leave up to the individual magician to decide on (though I admit I do enjoy the look and feel of having three four-letter names on the wand, at least if Hebrew is used).  However, given the DSIC author’s familiarity with Agrippa, it can’t easily be explained why they wouldn’t just use a Hebrew name in this case instead of a Greek, if Agrippa himself equated the two.
  • In the post about orienting and setting up the conjuration altar, Fuzzy brought up a point about orienting the table (or Table of Practice) separately from the altar; in other words, regardless which direction the altar is oriented, the table (or Table of Practice) would always be oriented towards the East (or North, if you’re Fr. RO in SS).  To my mind, this would only really be important if you use the double-ring design of the table (or Table of Practice) that has a separate ring of names for the four directional entities (four kings or four archangels), because in the one-ring design, there’s no directionality to be had on the table (or Table of Practice).  It would be weird for me, however, to have the triangle face in any direction besides away from you—especially if you use this method and face West in a conjuration, where the triangle would be pointing right at you, which I consider to be energetically and spatially dangerous.  This also does away with the significance of how we arranged the names of the angels on the pedestal plate, which was meant to line up with the four directions when facing away from the magician; however, if we use any orientation of the altar besides East, that would necessarily have to be done away with, unless if we keep the orientation of the pedestal to the table the same.  I’m not sure how I feel about not keeping the table (or Table of Practice) unaligned with the altar, but that is another valid variation, I suppose, so long as you’re using a separate piece of equipment for the table (or Table of Practice) instead of it being the surface of the altar furniture itself.
  • On the same post, Aaron Leitch himself chimed in and suggested another option for orienting the altar of conjuration: orient the altar towards the direction of the planet itself.  For this, a skymap, compass, or ephemeris would be used, such that if you were to do a conjuration of the angel of Jupiter, and the planet Jupiter was positioned towards the north-northeast, you’d orient the altar towards the north-northeast.  This is basically the system used in other astrological magic texts like the Picatrix.  Moreover, Aaron suggests that whether the planet is above or below the horizon would also be significant so as to tap into the ouranic/celestial side of the planet when the planet is above the horizon or its chthonic/subterrestrial side when below the horizon.  This would give an excellent refinement when used in conjunction with the planetary hour besides simply using a diurnal or nocturnal hour.

But, even after we’ve discussed so much, there are still a few lingering questions that could still be answered by others better than me in the future, perhaps after more research or experimentation:

  • Who is the true author of DSIC?  I consider Barrett himself to be the most likely and obvious possibility, but it’s unclear whether he plagiarized this himself from another source or offered it as an original contribution under attribution to Trithemius.
  • Was DSIC written more as a distillation/simplification of the Heptameron taking influence from Agrippa’s Fourth Book, or was it the reverse, that it was written as an implementation of a combined “good spirit”/”bad spirit” approach from Agrippa, and filling in the gaps with the Heptameron?
  • What were the specific Solomonic influences that led to DSIC?  The Heptameron is a clear influence, but were there others?  How wide and how far back can we trace the Solomonic roots of DSIC?
  • What did the original author of DSIC have in mind for the design of the table, notably left out of the DSIC illustration?
  • How widely was DSIC used after its publishing in Barrett’s The Magus, especially when compared with other forms of conjuration used in Western occulture?
  • What would a full, detailed implementation of DSIC look like in a Iamblichean (or otherwise generally Hellenic) Neoplatonic adaptation?  A PGM adaptation?  An Islamic adaptation?
  • What would a non-Hermetic, non-Solomonic adaptation of DSIC look like?  Would such an adaptation even be possible without relying on a common hierarchical monistic/monolatric/monotheistic divine structure?
  • What would a full, detailed implementation of Agrippa’s theurgic communion with “good spirits” look like?  His ecstatic communion with “good spirits”?  His conjuration of “evil spirits” to a circle?  What other grimoires would most closely resemble Agrippa’s description of such methods?
  • What is the specific Hebrew letter inside the hexagram present on the gold plate, pedestal, and wand?  Fr. RO interprets it as a Yod, Fr. AC interprets it as a Daleth, and Jake Stratton-Kent interprets it either as a Daleth or Resh.  I’m in the Fr. RO camp of interpreting it as a Yod, which seems to be the most sensible choice, but we all know that Western grimoire authors and illustrators weren’t always the best at accurately writing the shapes of Hebrew letters.
  • Regardless of the specific letter used, what is the role of the hexagram with central letter on the plate, pedestal, and wand in the DSIC illustration?  What does the original author of DSIC mean to signify by it?
  • More generally, what is the original, specific role of the three symbols on the pedestal, that of the hexgram with central letter, pentagram, and cross?  Where did these symbols come from?
  • I’ve never been satisfied with a simple or high-level answer regarding the role of the four kings, nor why they would be mixed up in these ritual tools if it’s not a purely Solomonic approach; after all, Agrippa says nothing about them, even in his Solomonic approach, nor are these kings used in the Heptameron, so their inclusion suggests another source or influence entirely.  What is their specific role as far as DSIC is concerned?  How does that role compare to the four archangels?  What is the nature of this role at all?

Now, it’s clear that DSIC, beloved (or not) as it is by many modern magicians and conjurers, isn’t exactly the most clear, unambiguous, or detailed of texts, and that has led to a number of variations in how DSIC can be implemented—on top of the normal adaptations magicians make, anyway, due to laziness, convenience, availability of supplies, or differences in cosmological framework.  So, what about a summary of some of the more reasonable variants that we’ve either encountered or thought up in our endeavor?  We can’t account for every possible variation, but there are a number that even a strict reading of the sparse text in DSIC allows either due to vagueness or ambiguity in the text, or merely because it simply doesn’t say:

  • Using a quartz as the material for the crystal or using a beryl instead, or some other kind of crystal appropriate to the working (especially for the planet of the spirit to be conjured, e.g. citrine or orange calcite for the Sun)
  • Using a crystal that’s clear-colored or colored otherwise (probably a light tinge of red, especially if beryl is used)
  • Arranging the three symbols of the hexagram with central Yod, pentagram, and cross with the divine name “Tetragrammaton” in different orders on the gold plate or in the triangle on the Table of Practice
  • Using the hexagram with a central Yod on just the side of the angels on the pedestal or on both sides, replacing it with a cross, or using no holy symbol at all
  • Using a double circle for the table (or Table of Practice) with one ring of names, or using a triple circle with two rings of names
  • Using any of the following in any order for the planets on the table (or Table of Practice): name, glyph, characters (either Agrippa or Ars Paulina), number square seal
  • Using either one or both of the following for the planetary angels on the table (or Table of Practice): name, seal (usually from Heptameron)
  • Writing the names of the angels in Latin script or Hebrew for the table (or Table of Practice), as well as the specific spellings used in either language based on the source you’re working from (Agrippa, Heptameron, etc.)
  • The order in which the planets/planetary angels are arranged on the table (or Table of Practice) in the ring of names
  • Writing the table (or Table of Practice) design permanently (e.g. engraving, woodburning, paint), or just temporarily (e.g. chalk, coal)
  • Making the table (or Table of Practice) on a small, portable disc, or actually putting it onto/into an actual table surface for permanent altar use
  • Using only one set of divine names used on the lamen based on the DSIC illustration, or varying the names in accordance with the general/specific names based on Agrippa
  • The specific number of pentagrams used on the lamen if only one spirit is to be called
  • Putting the name and seal of the planetary angel in the center hexagram on the lamen, or putting the name and seal of the planet in the central hexagram with the name and seal of the planetary angel in one of the pentagrams
  • Making the lamens always circular in shape, or shaping the overall form of the lamens in a shape concordant with its corresponding planet (e.g. triangular for Saturn)
  • Using the simple hexagram style of ring, or using the Lemegeton style of ring
  • Using just the lamen for the spirit to be conjurated, or using such a lamen in addition to a separate pentacle (i.e. pentacle of Solomon) in addition to the lamen
  • If a separate pentacle is called for, then either wearing the pentacle affixed to the reverse the lamen or wearing/concealing it separately
  • If a separate pentacle of Solomon is to be worn instead of a lamen, then either wearing the lamen for the spirit, or putting it under the crystal
  • Making the lamens in different materials (silver generally, wax, paper or parchment, in metals appropriate for the planet)
  • Using an actual spike-/stake-like brazier or using a tripod brazier for incense
  • Using a properly consecrated Liber Spirituum, or just a generic notebook for writing down information from conjurations
  • Having a permanently-drawn magic circle (tarp, tiles, etc.), or just drawing one out in chalk or coal per conjuration
  • Writing the three divine names in the magic circle in different typefaces and facing different ways, or making them all face the same way in the same typeface
  • Orienting the magic circle to align the four hexagrams with the four directions, or orienting the magic circle such that the quadrant with the spirit’s seal faces the direction of the altar of conjuration
  • Wearing special ritual attire or spirit-specific costume for the ritual, or not
  • Engaging in preliminary preparatory practices involving fasting, abluting, purification, prayer, &c., or not
  • Placing the altar of conjuration outside the magic circle, or placing it inside the circle
  • Placing the altar of conjuration against a wall or in the middle of a room
  • Orienting the altar to face east always, or to face specific directions according to the planet of the spirit being conjured, or any direction at all that’s convenient
  • If using a table (or Table of Practice) separate from the altar of conjuration itself, always keeping the table (or Table of Practice) aligned to the four directions (if such alignment is meaningful based on the design) or orienting it in the same direction as the altar of conjuration
  • Keeping the altar of conjuration sparse (having only the table and pedestal/Table of Practice, crystal, and candles), or decorating it with other elements (e.g. tablecloth, more candles, talismans)
  • What time to begin the conjuration, i.e. starting the first prayer within the desired planetary hour or marking the start of the conjuration itself with the prayer of conjuration
  • Interpreting the three parts of the prayer of conjuration to be a single unit of prayer to be said at once, or each to be said separately in case earlier prayers did not bring the spirit to the conjuration and we need to spur them on faster

And then there are the variations that would or have already been made to account for individual magician’s divergent approaches to DSIC to account for material availability, personal inspiration, incorporation of ideas from other texts, a desire to be lazy or convenient, adapting the ritual for one’s own needs, erroneous understandings of the text carried on as workable practice, etc.:

  • Using a crystal, or using another form of scrying medium (mirror, water vessel, etc.)
  • Using a crystal shaped like a sphere or in another shape
  • Using a crystal that’s entirely clear or has inclusions in it
  • Using a gold plate to suspend the crystal, or using gold-like metal e.g. brass
  • Using a gold plate in the pedestal, or merely gilding or painting in gold the two sides of the pedestal
  • Using ebony or ivory for the pedestal, or using another material entirely for it
  • Making the pedestal in the church-shape (as in DSIC) or the sunburst-shape (as in Hockley’s Occult Spells)
  • Incorporating a hexagram with a central Yod on the pedestal, a cross, both, or neither
  • Using a gold band around the crystal instead of a gold plate suspending the crystal
  • Using a pedestal to support the crystal on top of the table, or using a Table of Practice that combines the design elements of the pedestal and table upon which the crystal is placed
  • For the Table of Practice specifically when not using a separate table and pedestal: using the four kings (Oriens, Amaymon, Paimon, Egyn) or using the four archangels (Michael, Uriel, Raphael, Gabriel), or even both
  • Incorporating extra elements onto the table (or Table of Practice), e.g. signs and/or angels of the Zodiac
  • Writing the name of the spirit being conjured outside the hexagram/pentagram on the lamen, or omitting it entirely
  • Using ebony for the wand, or using another material entirely for it
  • Writing the characters for the wand in gold, or using another material entirely for it
  • Using both “Agla ✡ On 🔯 Tetragrammaton ✠” as well as “Ego Alpha et Omega” on the wand, or just the former
  • Using a hexagram plus a hexagram-with-central-Yod plus a cross on the wand, or replacing the empty hexagram with an empty pentagram to match the three signs on the pedestal
  • Using a ring of Solomon following the Lemegeton model, the Barrett Heptameron model, or another ring entirely, such as the Agla Ring of John Dee
  • Using two candles for the conjuration, or one, or some other number
  • Using candles for the conjuration, or using oil lamps instead
  • Consecrating the candles (or lamps) before use, or not consecrating them
  • Using an actual brazier for the incense vessel, or using whatever is most convenient
  • Using loose incense that would be used on charcoals or in flames, or using self-igniting incense
  • Using the magic circle design in DSIC, or using another magical circle design e.g. the one from the Heptameron
  • Using a physical magic circle at all, or just tracing one out with the wand instead
  • Incorporating other design elements into the magic circle besides just what’s already there in DSIC
  • Consecrating the various elements and implements used in DSIC beforehand, or not
  • Operating with a scryer, or operating alone
  • Operating with non-scryer assistants, or not
  • Using lamens with multiple spirits on them to bring them all at once to the conjuration, or using chained summoning to bring them after a primary spirit has been brought to the conjuration
  • Using just the one prayer of conjuration from DSIC for all spirits of all kinds, or using varying kinds of prayers for specific spirits or specific kinds of spirits for the prayer of conjuration
  • Using the Christian-language prayers of the DSIC text itself, or using alternative adaptations to allow for non-Christian prayers
  • Including preliminary calls to one’s holy guardian angel, agathodaimōn, or supernatural assistant

Alright, that sums it up for this blog project.  But, before we call it quits, there is one last thing I wanted to share.  One of the variations we offered earlier in the post is a variation on the table that uses a proper “double circle” with but a single ring of names.  It’s something I wanted to return to, but there wasn’t much of an opportunity to fit in it anywhere else in our discussion.  Since I think this is the proper interpretation of the DSIC instructions, I wanted to give a better-designed version of that that contains the proper design elements of the planets and the four kings, all written in the Latin script.  Thus, this is what I would recommend for use as a table, plus the front (three symbols and Tetragrammaton) and back (four archangels) of the pedestal inscriptions:

And a secondary variation that could be used as a Table of Practice, based on some of the variations we discussed earlier as well, that I think best combines the design elements of the table and the pedestal into a single piece of equipment, again in the Latin script:

And also, a set of lamens for use with the seven planetary angels, using Latin script for the names, the names taken from the Heptameron, and using a custom set of divine names on the outer ring, both general and specific according to Agrippa:

And notes on the foregoing designs:

  • I standardized the spelling of all names to use the Latin letter I to render I, J, and Y (thus “Iehovah”, “Iah”, and “Iod” instead of “Jehovah”, “Yah”, or “Yod”), and likewise the Latin letter V to render U, V, and W (thus “Vriel” instead of “Uriel”).
  • I moved the divine name Tetragrammaton, split as it was before, but inside the triangle, under the three symbols and above the four archangels.  This way, all of the design elements of the pedestal are now within the triangle entirely, which makes more sense, instead of some being inside and some being outside.
  • I used the seals of the Four Kings from the Clavis Inferni, specifically based on those of the wonderful mage-artist Asterion of Practical Solomonic Magic from his February 2014 post.  I used the names of the Four Kings from the Clavis Inferni, too, which agrees more with Agrippa’s spellings from book III, chapter 24 rather than the spellings in the Scale of Four from book II, chapter 7, though I keep the directional (and thus elemental) associations from Agrippa rather than the Clavis Inferni.  “Maimon” here is used instead of “Amaymon” because Maimon is better attested in older texts and cuts down on crucial space usage.
  • I included two glyphs for each entity in the outer ring on the table/Table of Practice.  For the planetary angels, these are the planetary glyph itself as well as the Heptameron seal for the angels; for the four kings, these are the elemental glyph associated with their directions as well as their seal from the Clavis Inferni.  This satisfies the requirements of the design of the table without sacrificing clarity for the sake of space management, interpreting “seals or characters” for the planetary elements to refer to just the seal of the angels.  Although the DSIC spec only says to include the names of the four kings, I added in the elemental glyphs and seals for them to make the design consistent between the planetary angels and the kings.
  • I changed the direction of the planetary angels and kings on the one ring to start at the bottom and go clockwise in the proper descending order, starting with Cassiel of Saturn and going clockwise from there.  This actually makes it descending instead of technically ascending as in the earlier post.
  • Though I used the Magical Calendar for the seals for most of the angels, I pulled the seals for Sachiel of Jupiter and Cassiel of Saturn from the Heptameron of Pietro d’Abano due to their relative clarity and, in the case of Cassiel, completeness.
  • Starting the ring of names at the bottom makes a sort of “gate”, with the most subtle spiritual force (Saturn) on the left hand and the most dense material force (Earth presided over by Maimon) on the right hand.  This organization, read clockwise, helps not only to draw spirits into manifestation under all the seven spheres and four corners of the world, but as we gaze into the triangle from the “bottom”, we can picture our sight “entering in” from the bottom, swirling around clockwise, and exiting once it makes a full cycle back out to us to bring into ourselves a manifest vision of the spirit being conjured.

As for me and my own practice, with any recommendations I might make of my own to implementing DSIC?

  • Ebony, ivory, and gold are fantastic if you can get them, but if you can’t, there are always workarounds.  Their presence certainly helps, but their absence does not impede.  Specifically, while ebony for the wand is ideal, I don’t think the material for the pedestal is at all that significant (as the text itself gives you a choice between ebony and ivory); the important part is the gold plate itself.  Plus, there are ethical issues involved in either material, with ivory often being illegally taken and harvested, and ebony increasingly becoming endangered.
  • Likewise, no, you don’t need a temple room if you don’t have the space or allowance for one.  It’s great if you can, and definitely something to aim for, but not having a dedicated temple space is not going to stop you from doing great magic.
  • The only reason to use a Table of Practice, in which you (according to the usual interpretations) pick either the four kings or the four archangels but not both, is to avoid using the pedestal.  Even if you can’t go all-out on a full ebony pedestal with solid gold plate, Fr. FC’s idea of using a simple painted band around the crystal is sufficient.  The design here matters more than the materials, I’d argue, and the design of the conjuration apparatus as a whole requires both the four kings and four archangels.  However, if you still wanted to forego the pedestal, you could still reasonably argue for using either set of names.
  • The most proper construction of the pedestal for the crystal, as I read and consider it, is to have the crystal exposed on the front side (with the three symbols and the divine name “Tetragrammaton”), but gilded or covered with smooth gold on the reverse (the side of the four names of the angels); this would explain the dark coloration of the crystal orb in the DSIC illustration that’s not distinct from the color of the plate itself.  The two candles should be placed on either side of the table, pedestal, and crystal and brought forward just a bit, not directly to the side, so that the light of the two candleflames can enter into the crystal ball, illuminating and reflecting it as a spherical mirror.  This is the most ideal setup; barring that, with the crystal exposed on the rear of the pedestal, one should have a third candle positioned directly behind the crystal, in addition to the two burning on the sides (which should still be positioned a little forward).  This latter setup would form a triangle around the crystal, and would provide light into it evenly from all three directions.
  • Make your tools large enough to be useful but not too large so as to sacrifice portability and flexibility, as always.  The specifics are up to you and your comfort.
  • Even though DSIC prescribes a specific kind of magic circle (a much-simplified form of the one used for the Heptameron), I don’t think it fundamentally matters, so long as a circle is used, even if just one traced on the ground.  Using a circle custom for the spirit to be conjured, however, can be beneficial in both forging a stronger link to the spirit as well as protecting against said spirit.
  • Use a pentacle of Solomon (I’m most in love with the one from the Veritable Clavicles of Solomon).  It shouldn’t be necessary, but it can always be useful, especially if things go sideways.  This pentacle should be worn on the body of the magician; if the lamen of the spirit is worn, the pentacle should be on the reverse, but otherwise, the lamen should be placed underneath the pedestal (sized appropriately to fit within the triangle of the table) or under the crystal (sized appropriately to fit within the triangle of the Table of Practice).
  • No need for a scryer if you don’t want one, but it can definitely help.  Ditto for assistants.
  • Over my own practice, I developed certain prayers for putting on the ring and also anointing oneself with oil before major works like this that I like using.
  • I cannot recommend enough the Prayer of Joseph the Visionary to use before scrying sessions, the prayer of which was shared once upon a time on Jason Miller’s old blog.
  • Likewise, a brief invocation of one’s holy guardian angel, supernatural assistant, agathodaimōn, etc. is extremely worth your time, no matter what kind of spirit you’re using.  Any such invocation would work, whether a traditional Catholic prayer, one from the Ars Paulina, or the one that Fr. RO uses adapted from the Headless Rite.
  • Take the preliminary preparation period seriously; don’t skimp on your daily prayers, purification, ablution, abstinence, and the like.
  • Build up on prior conjurations, especially if you want to take Fr. RO’s extreme methods of his one-week cycle of “Seven Spheres in Seven Days”, his five-week cycle of going through the planets in descending order, or a two-week cycle of going through the planets in ascending order.  Avoid heavy banishings done in the temple space beyond asperging with holy water so as to keep the resonance of previous works around.

Thank you all for sticking with me over these past number of weeks, and I hope you all enjoyed and learned from what we’ve discovered, discussed, and dreamt up!

And, finally, one last thing: despite the length and detail I went into regarding DSIC, and despite the repeated exhortations of many of my friends, colleagues, and family to do so, I have no intentions (at least at the present time) of writing an actual book about this topic.  Given that there’s already enough hard-published literature about DSIC courtesy of Fr. RO and Fr. AC, and between all the supplies and tools needed for implementing DSIC—even if one takes a bare-bones magic-on-a-budget approach—I figure that people have probably spent enough money on this ritual as it is, and my writing this and sharing it publicly on my website is as much for my benefit as it is for my readers.  If you need to, just bookmark this post, share it with your friends, and save it for ease of access to the rest of the posts in this series, or print out the individual posts and stuff them in a binder for your personal use.  However, if you found this series of posts helpful, thought-provoking, or entertaining and wished you could throw money at me anyway, consider throwing a few bucks my way through Ko-fi!

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It’s certainly not necessary or expected to do so, but it would help me continue my research, experimentation, and web-hosting, and any and every donation for what I share for free on my website is always deeply and sincerely appreciated from the bottom of my heart.  Alternatively, consider checking out what ebooks and services I have for sale, both on my website and on my Etsy!  That’s also a great way to support the things I do, stuff I make, and posts I write.  But, even if you don’t, your reading my blog and hopefully getting something of use out of it is honestly payment enough for me, and I thank you merely for being my reader and companion on this fun little Hermetic path we walk together.