The tradition that perhaps codified the image of the magical circle in the Western magical stratum is the Solomonic tradition, and in its context the more obvious use for it is protection. The theology the tradition emerges from dictates a need for insulating ourselves from the evoked in the same stroke that it sets the terms for the adversarial format of the operations. While recent developments should by now have enriched our world view sufficiently to dispel the belief that this is strictly necessary, there are, as usual, valuable insights to be garnered in the study of traditional ritual mechanics.
From what the texts say regarding outcomes, we can extrapolate a proposition that spirit manifestations are consciously visible to the naked eye, and that they present a real and immediate danger to the operator. That peril can be reasonably attributed to various specific aspects of any given system, less often recognised among those is the case of early formulae whose goal was obtaining a number of unknown spirits to manifest, all of which with unpredictable agendas. Or quite simply that in compelling a certain class of hostile spirits to appear, care will indeed be required.
This element of compelling is commonly done away with in modern systems, and the consequently subtler outcomes led its proponents to put in ink a conclusion that the sole purpose of the circle is to situate the magician at the centre of the magical universe. While that’s most definitely not the whole truth if taking into account recognitions aplenty of it acting as a protective device, there’s corroboration of its making entailing elaborate considerations such as the names of lower hierarchy, correct timing and more, and therefore it playing a more than passive role in ritual.
Andrew D. Chumbley in his Opuscula Magica Vol. I excellently ascertains the origins of names given to sorcerers translating to “the encircling ones”, alluding to the binding nature of the practice, and in subsequent paragraphs cites the observance of the cycles of the Moon and seasons providing the motif for the recognition of the geometrical symbol as meaning universe. Although he speaks primarily from the point of view of a distinct tradition, this is worth considering seeing as we can find the symbolism taken to length in the influential Peter de Abano’s Heptameron as well as the table of practice in Francis Barrett’s The Art of Drawing Spirits Into Crystals.
Circles in Solomonic systems
The essentials of the designs seen in various Key of Solomon manuscripts and its predecessors remain more or less the same, with variations mainly around the magical names used on the boundaries. A distinct detail of these is that unlike late Latin formulae, they frequently feature an entryway into the circle that is to be sealed off once all participants step in.
Their exact diameter is the topic of heated forum debates, likely because most expect to be able to conduct the ritual at home and laying a nine foot circle indoors can be difficult for urban dwellers. Heeding the wording in early instructions, they almost never fail to account for the presence of other participants needing to fit in the space, which is certainly a factor of that suggestion. Though rather than looking at the measure as having a numeric significance paramount for the success of the operation, considering it has been more often not specified, I submit that the more interesting factor is the metaphysical implications behind these operations being experienced in groups apparently as a matter of course. I would also caution against assuming them needing to be conducted indoors, as several of the instructions we will see further ahead plainly advise otherwise.
Designs found in three of the manuscripts of the Hygromanteia feature a double circle with magical names written inset. The previously mentioned entrance is laid southside and shows the black handled knife pointing outwards, indicating it’s to be used for closing it. The use of the black handled knife is of summary importance. The blade is consecrated to Mars and it’s by its virtues that spirits are kept at bay. This knowledge is missing from ignorant analysis deriding the idea as if what it proposes is that a mere figure on the ground should be capable of so.
The circle for one of the evocation approaches in MS Atheniensis 12651:
The following, from a French Key of Solomonmanuscript,MS Wellcome 46702:
Instructions in Harleianus 5596, another manuscript of the Hygromanteia, direct the magician to first burn incense and only then trace the circle, showing the process to be a form of ritual in itself.
InAtheniensis 1265 we find the following directions for procuring a location of the ritual3:
Go find a proper place to trace a circle. Let the place be at the peak of a mountain, in the woods, on a plain, in a cave, near the sea, in a garden, at a place where somebody was killed in old times and where neither the crow, nor a rooster, nor the voices of men can be heard, at a pure and trackless place, near a river, or near a meeting of three roads. It has to be far from people, where nobody can hear or see, and where the human voice cannot be heard, in order not to be obstructed by anybody.
The text emphasised above, conspicuously omitted from the same sentence in the later Atheniensis 115, carries huge practical implications best addressed in detail on a separate occasion, so I will only briefly note here that I believe these necromantic overtones are no accident, and in this communion lies a key to the practice of ceremonial magic. The dead will witness the ritual and their help is a possibility if honours and relief are offered.
In the later Key of Solomon, the instructions principally emphasise the need for isolation4:
The places best fitted for exercising and accomplishing magical arts and operations are those which are concealed, removed, and separated from the habitations of men. Wherefore desolate and uninhabited regions are most appropriate, such as the borders of lakes, forests, dark and obscure places, old and deserted houses, whither rarely and scarce ever men do come, mountains, caves, caverns, grottos, gardens, orchards; but best of all are cross-roads, and where four roads meet, during the depth and silence of night
Though in the subsequent paragraph offers recognition of the previous point5:
These arts or operations should he carried out at the prescribed time, but if there be no time specially appointed it will be always better to perform them at night, which is the most fit and proper time for the operations of necromancy
As stated earlier, at times we see the use of names or sigils of spirits found in the lower hierarchy in a bid for representing their authority, for in turn compelling the evoked to manifest, but on the circle itself. In a manuscript omitted in Mathers’ version of the Key of Solomon,MS Aubrey 24, the names of four demon kings are seen written around the circle at their respective cardinal directions. This exact same idea is seen in late Latin manuscript of remark, MS Wellcome 2000. It shows on its frontispiece an ourobouros circle with sigils of its four cardinal kings displayed on the outside6:
Peter de Abano’s Heptameronoffersextremely elaborate instructions for tracing the circle. I will quote it in full for an accurate impression7:
The form of Circles is not alwaies one and the same; but useth to be changed, according to the order of the Spirits that are to be called, their places, times, daies and hours. For in making a Circle, it ought to be considered in what time of the year, what day, and what hour, that you make the Circle; what Spirits you would call, to what Star and Region they do belong, and what functions they have. Therefore let there be made three Circles of the latitude of nine foot, and let them be distant one from another a hands breadth
1) and in the middle [i.e. inner] Circle, first, write the name of the hour wherein you do the work. 2) In the second place, Write the name of the Angel of the hour. 3) In the third place, The Sigil of the Angel of the hour. 4) Fourthly, The name of the Angel that ruleth that day wherein you do the work, and the names of his ministers. 5) In the fifth place, The name of the present time [i.e. season such as Spring]. 6) Sixthly, The name of the Spirits ruling in that part of time, and their Presidents. 7) Seventhly, The name of the head of the Signe ruling in that part of time [season] wherein you work. 8) Eighthly, The name of the earth, according to that part of time [season] wherein you work. 9) Ninthly, and for the compleating of the middle Circle, Write the name of the Sun and of the Moon, according to the said rule of time [season]; for as the time is changed, so the names are to be altered.
And in the outermost Circle, let there be drawn in the four Angles, the names of the presidential Angels of the Air, that day wherein you would do this work; to wit, the name of the King and his three Ministers
(cont.)
Notable among these cares is the laying of names and sigils of horary angels, an appeal to horary hierarchy imprinted in the circle itself. The Heptameron circle is likely the better example of a talismanic representation of the universe being fundamental for getting the attention of the evoked.
The following is Heptameron circle for the first hour of Sunday in the Spring8:
Similar instances of the observance of timing (and its conjoined hierarchy) can be found in the Sworn Book of Honorius, where the circles vary extensively with the class of spirit being evoked9:
Another application of this concept is found in The Art of Drawing Spirits Into Crystals, albeit much more simplified, where the pedestal holding the scrying lapidary stands on a circle, around which the names of the planets, their ruling angels, and the names of four cardinal kings are depicted. In addition, the formula features a second protective circle design for the magician to stand on with usual names of God written on10:
A rather simple operation from Bononiensis 3632(Hygromanteia) also makes use of a table of evocation. Interestingly, the protective circle is traced on the table itself and the spirit bound with a thrust of the knife at the centre of it. It’s unclear, however, where exactly the manifestation is to take place. It goes as follows11:
Lay a new tablecloth on a new table, and place an empty bowl upon it, together with two lit candles on candlesticks, one at each side. At the other sides of the table place another earthen bowl, a censer with lit charcoals and incense, and various peeled fruits. Then, take a knife with a black handle with your right hand, trace the circle three times around the table, and each time recite the following conjuration.
“I conjure you, Mortze, or human ghost, or haunting of this place, come to me now that I invoked you at this table that I prepared for you. Eat and drink from the food I prepared for you”
And when you see that he ate, conjure him this way:
“I conjure you, Mortze, do not defecate, do not urinate, until you tell me the whole truth in whatever I will ask you.”
Do this three times with the knife, around the table. And when you finish the three circles, thrust the knife into the table and recite the following: I nail you here, Mortze, or haunting of this place.
Though this is phrased as if the binding is based on keeping the spirit constrained in bowel discomfort, the element of feeding spirits is common enough both in the genre to warrant suggesting there’s likely a system of evocation in this formula. An illustration of the table described above12:
In my own approach I utilise a design quite similar to the one in MS Wellcome 2000. The sigils of the four cardinal kings are traced and honoured with incense along with a conjuration recited, so to interest them in facilitating access to their deputies. Rituals take place at an isolated grove at night. A replica of it is kept in my home temple for the occasional rite undertaken indoors. The complete formula may be published sometime in the near future:
Alternative means of protection
In traditions in and out of the Western current, examples can be found of protection provided via implements such as lamens worn by the operator or allegiances formed with superior or intermediary spirits. While this is assessed by some as a head-on approach, technically, protection is not being foregone altogether, but simply obtained through a different avenue.
In one of the more complete evocation systems found in the Greek Magical Papyri,PGM IV 154-285, the operator is directed to wear a philactery inscribed with various magical names during the course of contacting the gods the operation aims to put the magician in contact with. This formula interestingly begins with an initiation ritual for obtaining an alliance with Helios (Sun), it then providing the power for conducting the ritual13:
In Quimbanda14, the role of the Exú rei (king Exú) is to both protect the Quimbandeiro and mediate contact with “hotter” types of Exús. Through his agency the Quimbandeiro is equipped to act without the need for protective regalia when working directly with these spirits. Tempting as it is to draw a line between it and Scirlin from the Grimorium Verum, note that the Verum nevertheless advises the use of a circle and does not forego with the usual precautions. There seems to be less distance between it and the Paredros from the Greek Magical Papyri, or the spirit animal in some forms of shamanism, when looking strictly at roles fulfilled.
In certain lineages of European witchcraft, it’s the alliance obtained during initiation, or the “taking” of the witch by a spirit that provides both the power and safety for working other spirits reliably. This in turn can be understood as something similar to what is seen in Palo Mayombe, where the pact with the nganga is what ensures that the palero remains protected in the course of the work15. My personal approach relies on devotional work conducted with a charged statue of Lucifer, who commands the pantheon and is considered a gatekeeper to the mysteries kept by it. From this work an artefact is confectioned which carries his authority and imparts protection.
In conclusion, how necessary a circle is varies with relationships, alternative methods of protection, or the depth to which the procedure takes the matter of spirit manifestation to. It’s a lot less problematic not using it once certain pacts are in place, at which point it has presumably been employed a few times.
Credits
With gratitude to Tomas Beaujean for reviews and various helpful pointers.
Ioannis Marathakis. The Magical Treatise of Solomon, or Hygromanteia. (Golden Hoard, 2012). p. 278. ↩
Stephen Skinner. Techniques of Solomonic Magic. (Golden Hoard, 2015). p. 161. ↩
Ioannis Marathakis. The Magical Treatise of Solomon, or Hygromanteia. (Golden Hoard, 2012). p. 277. ↩
Descent from the peoples of the terrible empire of Narfell this ranger has chosen to master the skills to protect himself and slay dangerous demons, undead and eldritch beast.
You’ve probably heard of how to cast a circle, and of many methods to do so, a dozen times in the course of studying magic or Witchcraft. But have you ever felt your circle waver, your boundary un-drawn, or your sacred space distinctly not sacred? Here are some common problems with drawing and casting a circle of (most) any type, and some possible solutions.
Cleansing and Prepping: Is the space around you ready for a circle to be cast? Many casters find it helpful to sweep the area with a besom, or broom, beforehand. If you’re not the broom type, you can cleanse an area by walking the circle’s area clockwise sprinkling saltwater. (Don’t use salt outside - or your grass will be sorely upset).
Cleansing and Prepping Yourself: If you’re stressed out, you’re in no shape to cast anything! A ritual bath is the best way to ready yourself for magic, but in a pinch, asperging yourself with incense smoke (best blends for purification include sage, pine, rosemary, and cypress) will do just fine. If smoke is out of the question, a good grounding and centering, imaging the negative energies drawing out through your feet and drawing in the earth’s solid energies, will do the trick. You could also try a ritual tea to get your mind and body in the right mood (try something with rose or calendula), and to flush out previous energies.
Consecrating Yourself within the Circle: Feel like you drew the circle just fine, but you’re not exactly connected within it? Consider consecrating yourself within the circle, if you haven’t done so already. An easy and common means to do this is to dip your finger into the oil you are using for the circle, or, sans oil, the sacred water or regular water, and drawing a sigil representative of your circle on your forehead after your circle is drawn, in order to vow your connection to the circle (if it helps, say “I am now consecrated within this Circle.” as you do so). An all-purpose sigil would be a simple circle, but a cosmic lemniscate, or solar and lunar sigils, may be appropriate, depending on the circle.
Ritual Consciousness: Your circle seems to be drawn right, you feel pretty okay, but why aren’t things “lifting” to that magickal place? If you’re finding it hard to bring your circle to the otherworldly realm, take a second to breathe deeply. This is a broad question with lots of potential solutions: Strewing herbs associated with the moon phase and hour around the circle, matching your incense to the time or deity called, ensuring your lights are turned off, and making sure music doesn’t reach over a threshold where it can steal your attention. There are so many fixes - the main thing is to try and see what works by practicality! A surefire way for me has been to ensure the appropriate scent, whether it be through oils or incenses.
“Is My Circle Working?” and Circle Doubt: This one is an easy fix. Using an athame or other tool (if you drew a circle using natural power, use two fingers set together in an athame point) and cut a doorway in your circle. Step outside your circle, and back in, seeing if you can sense a difference in energy (and what that difference is). If it helps, close your eyes and take a few deep breaths in and out of the circle, feeling the ways of each. If your circle lacks staying power, close your circle and try again, seeing where you went wrong. But remember - the power is in you. There’s no “Wrong” way to cast a circle, but you can trip yourself up sometimes!
Hope that covers some of it - I know there’s endless ways. If I’m missing any major or common problems, let me know and I’d be glad to cover it!
Anatomy of a Circle-Casting: Circle Casting Structures
In many traditions, circles are used to delineate magical space, and provide a closed, but somewhat portable, working environment for the magical practitioner. Circles are “cast” through ritualistic action, by which a physical space is created, to suit the circle-casters’ needs. These circles have multiple uses: To keep lesser curious spirits from coming in and mucking about the proceedings, to create a sense of practical ritual space where the circle is elevated from the mundane plane, to protect the magic-worker when they are at their most vulnerable, and, of course, to provide the appropriate ritual environment for certain workings or spells.
Circles can be as elaborate or as simple as you like, and are often adjusted to accomodate different levels of workings.
Most formal circles in most Western traditions, however, follow a similar rubric:
1. Setup and Cleansing.
The space is typically cleansed (but not yet consecrated), often with a besom or other sweeping tool, both literally and metaphysically. This is to prepare the space for the circle so you have a clean slate with which to start. Many practitioners find it of import to cleanse themselves before rituals, as well, either literally with a bath, or via smoke cleansing. For newcomers: Your altar goes inside the circle, often in the center unless instructed otherwise, and often facing a specific cardinal direction depending on your intentions or traditions.
2. Signal to Begin.
A bell is rung, or other statement proclaimed, to indicate the circle-casting is now begun.
3. Calling of the Spirits (including Calling the Quarters).
The beings, or spirits, with which you’ll be working, are called upon to assist with the circle-casting. Some traditions require the beings to be invoked much later in the process.
“Calling the Quarters” here means calling (aka asking to arrive, or petitioning the help of by inviting them to the circle) the four elemental directions - North/Earth, East/Air, South/Fire, and West/Water. These elements are typically called clockwise.
Each tradition will, of course, have a set of different rules and regulations on how and who to call.
4. Drawing the Delineation.
Here, the actual circle-drawing begins. One uses a wand, or lights candles, or casts with their finger, or with their athame, etc, a literal circular boundary shape, frequently cast clockwise, to delineate the boundary of the circle. This is the physical boundary of the circle: One the circle is drawn, a wall is put up, and a door must be cut to invite other practitioners or spirits in. You can draw the circle quite literally, e.g. with a stick in sand, or visualize it using a wand; there’s a ton of ways to go about it.
5. Consecration.
At this time, the circle is “blessed”, or consecrated, to the practitioner’s use. This essentially means dedicating or blessing the space to your deities, spirits, powers, purposes, or higher-ups (for the non-theist witches in the mix, this means blessing the space for work or giving it the old champagne-bottle-on-a-ship). This can be done, for instance, by sprinkling salt water to consecrate (NEVER outdoors; salt will kill your plants!), then follow-up with walking clockwise around the circle with incense to welcome the spirits. Again, each tradition and circle-per-purpose will vary on the actual consecration actions and what, exactly, you are consecrating to.
6. Signal to Begin the Work.
The bell is rung, or signal given, to begin the actual workings within the circle - whether it’s a Full Moon Esbat or ritual, a spell, meditiation, or anything else. Offerings can be given at this juncture to spirits that have been called.
7. Thanks for the Work.
Once the work is complete, another signal can be rung; offerings and thanks can be given to the beings of the circle at this time. Meditation and writing in one’s notebook or Book of Shadows is also appropriate.
8. Cakes and Wine.
Typically an entirely Wiccan tradition, this is where cakes and wine (literally - a food offering and a beverage offering) are shared with the deities/powers, and also eaten by practitioners. More practically, for non-Wiccans, this is the offering-and-feasting portion of the circle. (“Cakes and Wine” as a phrase originates within Wicca, so please replace with your verbiage of choice as applicable here).
9. Closing the Circle.
We close out the circle by politely dismissing the spirits, politely farewelling the Quarters, farewelling anything we’ve called, saying goodbye to the Powers, and, finally, physically closing our circle by un-drawing, counterclockwise (or, if you drew the circle counterclockwise, reverse to clockwise). If you used a wand to delineate, draw your circle back up into/through it. (Visualization can be very helpful here to new practitioners.)
10. Benediction.
The circle is cast, and closed - this is where you say Thank You and, if you like, thank and send well-wishes to the other actual, physical participants in the ritual. If you’re going it solo, a neat little Thank-You, My Work Here Is Done wrap up speech is particularly nice here.
And there you have it - you’ll find lots of traditions have circle castings that use some, or all, of these segments in order; hopefully you’ll find this breakdown useful when piloting your own circles, as well!
Line-art of my oc, Avienna (Avi for short). She’s a young witch in her first year at the Witchery, and gets into A LOT of trouble. Not sure whether she finds trouble or trouble finds her xD Next to her is her familiar, a lynx cub called Bright Eye. Avi is studious and has a great thirst for magical knowledge of all kinds, she absolutely loves magic!
(This was my first time drawing a magic circle, was so much fun!)
There is the general metaphysical antithesis that Magick is the Art of the Will-to-Live, Mysticism of the Will-to-Die; but — “Truth comes bubbling to my brim; Life and Death are one to Him!”.
(Magick circle made by me according with Thelema Magick)
My series on astrological magic is now complete. There are thirteen posts total, each of them thoroughly discussing different concepts which are important to the effective practice of these arts. They don’t proceed in exactly the order you’ll need the information in, and I apologize for that, but I also don’t think it will be a problem. You should really make sure to carefully read the information in each of these posts before attempting to carry out this kind of work, in order to be sure that you’ve covered your bases and taken the appropriate precautions. Below is a list of all the posts in the series. I hope they are helpful to you. You’re welcome to ask us if you have any questions at all.
Thank you very much for reading. If you found this series interesting, please consider checking out Benefica’s series on the court cards in Tarot, and if you’re interested, check back soon for our upcoming series on the creation and use of talismans (which will be a collaboration between Benefica and myself).
This will be the twelfth post in my series on astrological magic. The intention of this post is to familiarize you with the basic theory you’ll need to know in order to consecrate a magic circle, and to make your orations, prayers, and petitions effectively. There are an infinite number of variations you can reasonably apply to the examples I’ll give, but you should make sure the overall formula is sound enough. Please take appropriate care if you choose to alter or improvise any of the methods here. If you have any questions, you’re welcome to ask us.
One of the original sciences of the quadrivium (Pythagoras’s teachings) was rhetoric. Today, this skill is still very useful. Without it, you may have difficulty communicating or articulating your ideas, thoughts, feelings, and desires. This is why it is important to use the most accurate phrasing possible while casting any kind of magic. If you fail to effectively or clearly communicate your consecration, orations, what your intentions are, to whom you wish to speak, or what sort of power you wish to draw from, it is unlikely that you will succeed in your work. There are many classic stories about magic and dealings with supernatural beings where the hero says what they want, but their wish is worded carelessly, and might have multiple meanings, so instead of their goal, they are granted whichever meaning of the request they did not actually desire. This is the kind of natural punishment you will be likely to receive if you speak ineffectively or carelessly while using magic, so you need to be very careful when speaking with these forces.
Another thing you should take note of is that consecration is always done from inside the circle. Once a circle is consecrated, you should not enter or exit from it until your work is properly finished. Because of that, you should always take extreme care in remembering to bring everything you need into the circle with you. If you exit the circle after it has been consecrated and before your work is complete, many things can go wrong, and your work will probably not go well.
Consecration of circles:
Pietro D'Abano recommends reciting Psalm 51:7 after the magic circle has been constructed. Brief as it may be, this prayer is definitely sufficient for the heavy function of astrological magic. While saying this prayer, it is also necessary to sprinkle the circle with holy water, or another form of skilfully blessed purging water (if you’d like to deal with benevolent forces, this practice can never hurt). This is my preferred method for several reasons.
A slightly more thorough variant of D'Abano’s method is to sprinkle your circle with holy water while you recite the seven penitential Psalms (Psalm 6, 31, 37, 50, 101, 129, and 142. In the KJV, they are Psalm 6, 32, 38, 51, 102, 130, and 143).
Dion Fortune’s method is comparably simple and effective. Start by turning toward the east quarter. Touch your brow and say “Yours, O God,” and then touch your solar plexus and say “is the Kingdom,” and touch your right shoulder before continuing “and the Power,” and touch your left shoulder before adding “and the Glory,” and bring your hands together in front of you, clasping them together, saying “for ever and ever, Amen.” Now you should visualize a sword in your hand, and hold it in front of you, with its point toward the sky. Now, you should say “In God’s name, I accept the Sword of Power for defense against evil and aggression.” Visualize yourself doubling in height, making sure to render the image of yourself as formidable, powerful, and protected as possible. Now with the point of your sword, trace the outer boundary of your circle, and with your mind’s eye, watch it light up in bright yellow flame. Now face east again, and clasp your hands together over your head before saying “May the archangel Raphael protect me to the east.” Do the same in each direction, but instead of Raphael, invoke Michael from the south, Gabriel from the west, and Uriel from the north. After this, your consecration is complete.
Henry Cornelius Agrippa recommends the following things be kept in mind as you consecrate the place where you’ll be working. In consecrating your space, he says it is good to reference the Sanctum Sanctorum. Mount Sinai, the Tabernacle of the Covenant, Solomon’s temple, the hill of Golgotha, and Mount Tabor. You should call on names of God which pertain to the house of God, the throne of God, the Tabernacle, the Heaven of God, and names with similar symbolism.
TheClavicula Solomonis contains an extremely lengthy and demanding method of consecration. It looks to me like it would be reasonably effective, but I think it’s clear that most of the extremely specific needs it calls for are completely unnecessary. If you want to know about this method, just look at a copy of the Key of Solomon, and see for yourself.
Abraham von Worms and Abramelin the Mage make it clear that there is no exact prayer that you must say, though they recommend praying to Adonai, rather than any other name (a sound recommendation, since that name is a respectful title given to the Tetragrammaton, which is used out of reverence, because one should not attempt to speak the true name of God). They insist that a prayer from the heart which follows the right formula is the most effective kind of consecration. Of the methods mentioned above, D'Abano and Cornelius Agrippa’s methods are the most useful to me, because they are accessible and very effective. You can easily substitute your symbolism or imagery if you prefer something less Judaic, and you’re also able to combine these methods with each other, or with other methods you’re comfortable or familiar with. I hope this section has given you a general understanding of the consecration of magical circles, and of the things that go into the process of doing so.
Now, I will talk about some methods of speaking with the consciousnesses and intelligences of the planets. Keep in mind that there are many other ways to pray to the planetary intelligences, but that I’m using these particular approaches as examples. Keep in mind when dealing with the planets that it is generally considered necessary to stroke their egos and compliment them as much as possible, doing as much as you can to emphasize the greatness of all the things that planet is responsible for. These are derived from ancient Sabian methods, and it’s important to warn you that some of the methods involved here require animal sacrifices, and that these are often illegal, not to mention cruel. I also want to make it clear that they are very effective. Remember, if you carry out any animal sacrifices, you’re doing it at your own risk. I wouldn’t have you break the laws where you live, and there are definitely other reasonably effective offerings you can make to the planets (you can see some of the things the planets rule over here, if you want some other ideas of things you might be able to effectively offer to the planets).
To make a request of Saturn, you should consider that it should be in a favorable position in the sky, and you should do this on Saturday, in Saturn’s hour. Libra is the most agreeable place, Aquarius and Capricorn are also good places for it. If this can’t be done, wait until Saturn is in the midheaven, in one of its triplicities, or a term it rules over. It can be in one of the other angles or succeedent houses in addition to the midheaven, and preferably in an oriental house (in the eastern sky). Make sure Saturn is not in retrograde, and that it is in a masculine position. Make sure there are no detriments, falls, or negative aspects affecting Saturn. Especially avoid a square aspect with Mars. If it is in a cadent house or retrograde, Saturn will not fulfill your requests. Other tips about placement of Saturn are here.
Make sure to wear all black clothing, with black shoes, and a black hat on your head. Make your request in a secluded place, preferably where people are humble and pensive. Carry an iron ring and an iron censer with you. Begin burning the incense of Saturn (the incenses of planets can be found here). Turn toward Saturn’s location in the sky, and say a prayer like the following:
“O exalted celestial with the great name who sits in the highest heaven, whom God made subtle and powerful! You are the lord Saturn, cold and dry, dark, the one who writes the good, the one who is always a faithful friend, hardy and adaptable in love and hate, whose knowledge is expansive and penetrative, honest and trustworthy in your promises and utterances, isolated in your operations, solitary, separate from others, familiar to suffering and sorrow, distant from joy and festivity, you are ancient and wise, and you erase the knowledge of those things which are good. You are the one who writes the good and evil. Miserable and tortured are those who are affected by your malice, and very fortunate are those who are in your favor. God has placed powers and virtues in you, and a spirit which does good and evil works. I ask you , lord, by your exalted names and your wonderful works, that you fulfill my request.”
Now you should make your request, and throw yourself low to the ground, while always making sure you are facing Saturn. This shows your humble spirit, and your sorrow. After this, you should be able to conclude your work appropriately.
If you want to make a request of Jupiter, you should make sure it’s in a good position (especially concerning Saturn, but other tips are here), and safe from its detriments and fall. Wear yellow and white, with a belt around your waist. Go to a humble and gentle place, like a hermitage used in Christianity, and bring a censer made of tin. In the censer, burn the incense of Jupiter, and turn toward its location in the sky. Now you can say the following prayer.
“God bless you, lord Jupiter. You are the warm and humid Greater Fortune, impartial, and fair in your workings, benevolent, beautiful, honest, and wise. You rule the truth, and equality. You are merciful, and separate from evil. You smile upon the faithful and loyal worshipers, reward those who take joy from their religions and who are not hedonistic. You are of honorable mind, and you carry out works of good freely and naturally. You are honorable in your heaven, your promises are law, and your loyalties true. I call upon you in the name of Adonai, who has given you the power and spirit you have, and by your benevolent and generous nature, that you fulfill this request.”
Now, you should ask for what you request from Jupiter, and say:
“For all good things come from you, and the very nature of goodness comes from you. This is why you will listen to all good-natured requests.”
When you have a request for Mars, you should make sure it is well placed, and safe from its detriments and fall (more tips about the placement of Mars are here). Wear red clothing, and a red silk or linen hat with a red skullcap, with as much warlike apparel as you can wear. Hang a sword from your neck, and carry as many weapons with you as possible. You will also need to bring a mouse. Wear a copper or bronze ring on one of your fingers, and burn the incense of Mars in a copper or bronze censer. Make sure to do this in a remote place you have previously chosen. Face south, and speak the following style of prayer without hesitation or fear.
“Mars, you are an honored lord of a dry heat. You are powerful and heavy, your heart can’t be moved, and you spill the blood and cause the illness of humans. You have great strength, you are hardy, fast, brave, and agile. You rule over fighters, warriors, pain, misery, injury, incarceration, sorrow, and things which are blended or dismembered. You are not afraid of anything, nor do you contemplate. Your works are yours alone, and your precision is strong and effective, as is your drive for conquest and challenges. Your bring harm to the weak and the strong, and you smile upon the warriors who love their battles. You validate the wicked and the cruel. I call on you by your names, qualities, killings, and challenges against the Lord God who gave you your power and spirit, stockpiling them and keeping them from the other planets in order for you to gain strength. Mirrih, Mars, Bahram, Ares, Angara! I summon you in the name of Adonai, so that you will hear and fulfill my request, and that you will see my humbleness before you and see fit to help me.”
Now you should make your request from Mars, and say:
“I call on you by the power of the archangel Uriel, who has been sent by Adonai to complete your works.”
Now, you should behead your mouse, throw it into the incense fire, and eat its liver.
To make a request to the Sun, you should work on Sunday, and in the hour of the Sun. You should make sure the Sun is well-placed in relation to other planets and the signs, and safe from detriments and its fall. It is also usually good to have the Sun ascending. Wear yellow and gold clothing (preferably made of silk), a gold crown, and a golden ring. You should do this work in a small building you’ve reserved for this purpose. Bring a golden censer, and a beautiful rooster with you. Around the rooster’s neck, hang a piece of wood about 4 inches in width and length with a small burning candle on it. Start burning the incense of the Sun just before sunrise. Turn the rooster toward the Sun as it rises, and say a prayer like the following:
“You are the center of our heaven, and you are honored and exalted above all celestial bodies. I ask that you, the revered and holy Sun listen to my request, and give me the friendship and good grace of the leader in question. I call upon you in the name of Adonai, who is the source of your life. You are the one who gives light to the world, and I am calling on you by many of your names. Shams, Sol, Mihr, Helios, Aras, you are at the center of the planets, and you give light and clarity to the world. Life and creation on Earth are gifts from you, your perfect placement, and your heat. I request your aid in granting me the respect and good will of the powerful people I’m dealing with, so that I may have power over places and people, just like you have power over all the planets. I ask for your pity and mercy, that I might have success in my endeavors.”
The Sun in particular is responsive to a great many methods of prayer from nearly all the religions of the world. For example, Jesus Christ can be equated to the Sun (there is absolutely no doubt in my mind that Christianity is a form of Sun-worship, and many scholars agree), so saying a traditional Christian prayer to Jesus Christ could probably just as easily give you the results you need. It is very useful and important to note that it is rarely or never necessary to make any kind of blood sacrifice to the Sun.
To request something from Venus, make sure that it is not in its detriments, fall, or retrograde, and that it isn’t affected negatively by an aspect of Saturn or Mars (and be sure to look at the other guidelines I’ve given for the placement of Venus here). Traditionally, there are two ways you can dress when dealing with Venus. One way is to dress in traditional Arabic garb, all white in color (Venus rules over the religion of Islam). The other option is to dress in the most feminine attire you can manage, and to exalt the feminine energy in you to the fullest extent of your abilities through that aesthetic endeavor. Silk and pearls should ideally be included in your outfit, along with golden wristbands and a golden crown or tiara. Carry a mirror in your right hand, and a comb in your left. Wear perfumes which smell like spices or nutmeg, and have a bottle of wine in front of you. Burn the incense of Venus in a censer made of gold and silver, or an alloy of the two. You will also need to bring a pigeon and a turtledove. Now, you should pray to Venus in a similar manner to the following:
“Venus, may you be blessed by Adonai. You are the queen of the planets, the Lesser Fortune, fair and beautiful, and pleasantly aromatic. You are the lady who rules over ornate adornments and jewelry. You smile on lovers, joyous people, pageantry and decorations, elegance, beautiful singing and music, comforting things, recreation, and love. You love wine, relaxation, leisure, and sex, because these are of your nature. I call on you by your names in many languages. Zuhara, Venus, Anahid, Aphrodite, Tijanija, Surfa, I call you by the Lord Adonai, ruler of the highest order, and by your loyalty to Him, I ask that you hear my request.”
Now, you should ask Venus for what you seek, and continue to say:
“I call on you by the great archangel Anael, who is the angel of the Lord who mediates you and carries out your work.”
Now, lower yourself to a vulnerable position on the ground, and repeat your prayer. After that, stand back up, behead your pigeon and turtledove, and eat their livers. Burn their bodies in the incense fire, and your prayer to Venus will be complete.
To make a request of Mercury, it is best to dress like a journalist or writer (however you think best resembles the way they might dress). Make sure Mercury is safe from its detriments and fall. It is ideal to have Mercury and the Moon in conjunction with each other in any work pertaining to Mercury (other tips about the placement of Mercury are here). Wear a ring made of solidified mercury, if you can find one. Bring a rooster with a large comb. Burn the incense of Mercury, and turn toward Mercury’s location in the sky holding a notepad or piece of paper as if you’re about to write on it. Now, say a prayer to Mercury in a similar manner to the following:
“May you be blessed by Adonai, Mercury. You are honest, aware, and knowledgeable. You can teach all science, written language,and mathematical art. You are subtle and even-tempered. You understand commerce, finance, and economics. You speak through prophets and diviners. You teach logic, philosophy, geometry, and astronomy. You teach biology, rhetoric, and computer science. You teach complete cognitive awareness, and quickness of thought. You can change things from one state of being to another. You teach cleanliness, solidarity, and existential wholeness. You bring peace, and prevent people from crossing paths with evil. You also bring out the more beneficial traits of religion and law. You are helpful with Jupiter and Venus, and harmful with Saturn and Mars. You are neither male or female, but can be either in various situations. You are nocturnal sometimes, and diurnal others. You are harmonious, and you work well with whichever forces you coincide with. I call on you by many of your names. Utarid, Mercurius, Hermes, Thoth, Budha, Enki, Tir, I call you in the name of Adonai, the lord who rules over the highest order, and I ask that you hear my request, and that you bestow upon me your knowledge and wisdom.”
Here, you should ask Mercury for the thing you request. Then, you should continue:
“I call you by Raphael, the archangel of the Lord who carries out and regulates your work, so that you will hear and fulfill my request to you.”
Now, lower yourself to the ground and repeat your prayer. Now lift your head up, and behead your rooster, burn it in the incense fire, and eat its liver. Your request to Mercury should be fulfilled.
To make a request of the Moon, you should wear childish clothing, and bring good-smelling things with you. The Moon should be in a good position, safe from detriments and its fall, and at a good aspect with one of the Fortunes (more tips on the placement of the Moon are here) Wear or carry a silver ring, and move quickly. Make sure you speak with elegance and punctuality. You should bring a censer made of silver to burn the incense of the Moon, and a calf or an ewe for sacrifice. Wash your face and turn toward the Moon to pray.
“May Adonai bless you, wonderful Moon. You are kind, cool, and humid. You are fair and pleasant. You are the key to the planets, and you move quickly to shine your light on the Earth. You are the lady who rules over joy, contentment, and kind words. You love the law, and you subtly contemplate all worldly things. Cheerful songs and revelry bring you joy. Messengers, ambassadors, and hidden things are under your protection. You are uninhibited, closer to us than the other planets, you are the largest celestial body in the sky, and you are very bright in your light. You can aid good or evil, and all the planets can be joined through you. All things on Earth are either blessed by your grace or afflicted by your curses. You are the beginning and ending of all worldly things. I call you by Gabriel, the archangel of the Lord who carries out your work, and who helps to regulate your power, so that you might hear my request and grant me my wish. I call you by many names. Qamar, Luna, Meh, Selenê, Suma, Sin, Chandra. By your humility before Adonai I ask that you hear my request.”
Lower yourself to the ground, and repeat your prayer. When you have done this, behead your calf or your ewe. If it is an ewe, eat her liver to seal the ritual. Burn the body of your sacrificial animal in a fire, as usual.
I hope this post has given you some insight into the methods of consecrating circles and praying to the planets in astrological magic. Keep in mind that these methods aren’t the only effective ways to do this, and that there is plenty of information available about dealing with the planets from many cultures who have their own approaches. If you’d like us to check our libraries for information of that kind, let us know.The next post in this series will be its conclusion.
This will be the eleventh post in my series on astrological magic. In the last post, I talked about the planetary hours and days, as well as some of the spirits ruling over certain times. That information will all be necessary to understand in order to do all the things I’ll be explaining in this post, which will discuss magical circles and their geometric construction. Be careful when you’re doing these things. You’re always welcome to ask us if you have any questions.
To consecrate your working space before you carry out any magic is one of the most important parts of nearly all forms of ritual magic. There are a great many methods for preparing a circle, and I will readily admit that I believe certain methods are more effective than others, and that I feel as if some methods are just as good as not casting a circle at all (but I won’t get into that right now). For the type of magic I’m talking about now, I like D'Abano’s method of casting a circle, because it reflects planetary rulership, and it also calls upon the power and protection of some relevant ruling spirits for aiding in your work. It’s important to note that there is room for variation in this method if you want to work with a different system of spirits, but the basic geometric features of this type of circle are vital to its function, and to make sure you call on the power and protection of appropriately powerful and benevolent spirits is also essential. If you’d like to substitute something, and you want to double-check something with us, you’re welcome to get our opinion or advice by asking. The traditional ruling spirits and D'Abano’s are here, in the previous post.
The first thing you should do in this method is make a circle which is 9 feet in diameter. Inside it, make a circle with a diameter of 7 feet (meaning its edge will be 1 foot in from the larger one), and be sure it is concentric with the larger one as precisely as possible. Make a third concentric circle with its edge one foot in from the second (meaning it will be 5 feet in diameter). These are the basis for your circle.
Next, you want to find the point in the innermost circle which is farthest north. Draw a straight line from there through the center of the circle until you reach its southern edge. Then do the same from east to west. Now you can make the last circle one foot in from the innermost so far. The lines you already made will cross this circle’s boundaries. Finally, make four pentagrams outside your circle. One at the southeast, one at the southwest, one at the northwest, and one at the northeast. The points of each of these should be directed toward the center of your circle. Now you have most of the geometric basis for your circle of protection, and you can start on writing in the names and symbols which should be included.
Inside the edge of the second circle (if the outermost is the first), you should start at the farthest point east. Beginning there, write the name of the hour you’re working in. Next, write the name of the angel who rules the hour. Following the angel’s name, you will add its sigil (the sigils of these angels are easily found by using Google, and entering something like “sigil of the archangel Raphael,” for example). Next, you will write the names of the ruling angel of the day, as well as its sub-ruling angels or spirits. Now you should write the name of the season. Then, you should write the names of the spirits ruling over that season (and keep them in the order that I have listed them here). After that, you should add the name of the spirit ruling the sign of the season. Next, you should add the names of the Earth, Sun, and Moon according to the season. This completes the writing in the space between the second and third circle.
Inside the edge of the first (outermost) circle, start again at the farthest point east. Here, you will write the name of the aerial king who rules the day you’re working in. At the south, west, and north, you’ll write the names of the aerial spirits under his command (in the same order I gave them to you here, excluding the spirit Flaef on Friday, but adding him in on Wednesday).
Between the third and fourth circles (outside the edge of the innermost circle), there will be four parts divided up by the lines you’ve made. In each of these parts (starting with the southeast, and proceeding clockwise as before), you should draw a cross (not a Christian cross, but one where the lines are of equal length), followed by an appropriate name of God for your purpose, followed by another cross (employing a total of four different names of God).
The last step in building your circle is to write “Alpha” on the eastern part of the innermost circle, allowing the line through the center to divide it, so it appears like “Al|pha” and then to write “Omega” on the western part, allowing it to be divided by the line so it appears like “Om|ega”.
This is all the geometric knowledge you need in order to build an effective circle based on the time. From here, you should proceed to consecrate your circle. I’ll speak about methods of doing that in my next post. I hope this post has been useful to you. Thank you for reading.
“The Book of St Cyprian” “Jonas Sufurino”, attribution.
The history of fictional magicians is long and tawdry, often evolving out of folktales related to actual historic figures there are those who were created whole cloth for the purpose of selling books.
While we may have record of those occultists like Michael Scot,Johann Faust, and others who were in fact real people, there are some figures who defy historic documentation. St Cyprian himself is supposed to have existed in the 3rd century of the common era, but even the Catholic Church has been hard pressed to provide any hard evidence for a Cyprian of Antioch.
Jonas Sufurino seems to be a character who was created as part of the evolving Cyprian mythologies, possibly by a Spanish publisher, to give a more modern context to a supposedly ancient text.
As the story goes, Sufurino was a German monk at the Abbey of WalkenriednearMount Brocken, a location famous for its legends of witches and devils meeting there each year on Walpurgisnacht. He claims to have gotten Cyprian’s book from the Devil himself after conjuring him forth.
The book we have at hand goes even deeper into the abyss of speculative authorship as we are presented with a version of the book that is said to be translated from the German of Sufurino’s hand, apparently a copy/translation Sufurino made of the Hebrew original written by St Cyprian, to the Spanish that has been translated by Humberto Maggi.
That no German version of the work ever existed is more than likely, but the path of authorship is convoluted to say the least, although no credit is given for the translator who was supposed to have brought the work from German to Spanish.
Maggi’s earlier translation of the “Book of St Cyprian” was drawn from a Mexican edition published in 1920. That earlier volume is a tome of a work that covers the ground of hodgepodge occult sources. Each Cyprianos seems to be tailored to the local reader’s interests, culled from a list of sources nearest to hand to each publisher in question.
While Maggi’s earlier Cyprian takes most of its content from the “Le Véritable Magie Noire” the Sufurino, an edition published in Spanish in Barcelona, casts an even wider net, taking from the “Grand Grimoire” and the “Black Pullet” as well. Maggi speculates, based on scholarship by Félix Castro Vincente, that the Sufurino was copied in part from earlier Portuguese editions. It does contain a series of charms that involve the torture of animals that is found in the Portuguese Cyprians, but lacks the treasure hunting aspects.
The work is a mixed bag of ceremonial magic whose roots ultimately come to us, via the hand of many editors over many years, from the Greek Magical Papyri. It contains versions of the “Key of Solomon”, “The Red Dragon”, “The Grand Grimoire”, as well as sections on magic candles, “Chaldean and Egyptian” philters, enchantments and sorceries.
Maggi has done a splendid job bringing this work into an English translation. It is a handsome volume, beautifully bound in black (faux?) leather with metallic red stamping to the spine and a metallic red devil in the corner of the cover. The paper is a nice thicker quality of cream with a rougher tooth, giving it an old book feel. The endpapers are printed with a splendid artwork by Daniele Valeriani.
For any scholar of Cyprian literature this is a must have edition in one’s collection. Nephilim Press have provided an important part of the puzzle of St Cyprian the Magician as an Iberian folk character and focal point of an evolving magical tradition that has spanned centuries.
