Magical Diagrams
These are geometrical designs representing the mysteries of deity and creation, therefore supposed to be of special virtue in rites of evocation and conjuration. Major diagrams are the Triangle; the Double Triangle, forming a six-pointed star and known as the Sign or Seal of Solomon; the Tetragram, a fourpointed star formed by the interlacement of two pillars; and the Pentagram, a five-pointed star. These signs were traced on paper or parchment or engraved on metals and glass and consecrated to their various uses by special rites.
The Triangle evoked a universal trinity found in all things— deity, time, and creation. The triangle was generally traced on the ground with the magic sword or rod, as in circles of evocation where the triangle was drawn within it and, according to the position of the magician at its point or base, so the spirits were ‘‘conjured’’ (summoned up) from heaven or hell.
The Double Triangle, or the Sign of Solomon, is symbolic of the macrocosm, and is formed by the interlacement of two triangles: its points thus constitute the perfect number six. Magicians wore it bound on their brows and breasts during ceremonies, and it was engraved on the silver reservoirs of magic lamps.
The Tetragram, symbolic of the four elements, was used in the conjuration of the elementary spirits—sylphs of the air, undines of the water, and the fire salamanders and gnomes of the earth. In alchemy it represented the magical elements salt, sulphur, mercury, and azoth; in mystic philosophy, the ideas Spirit, Matter, Motion, and Rest; in hieroglyphs, the man, eagle, lion, and bull.
The Pentagram, the sign of the microcosm, was held to be the most powerful means of conjuration in any rite. It might represent good as well as evil, for with one point in the ascendant it was the sign of Christ, and with two points in the ascendant it was the sign of Satan. By the use of the pentagram in these positions, the powers of light or darkness were evoked.
The pentagram was said to be the star that led the Magi to the manger where the infant Christ was laid.
The preparation and consecration of this sign for use in magical rites was prescribed with great detail. It might be composed of seven metals, the ideal form for its expression, or traced in pure gold upon white marble never before used for any purpose. It might also be drawn with vermilion upon lambskin without a blemish prepared under the auspices of the Sun.
The sign was next consecrated with the four elements, breathed on five times, dried by the smoke of five perfumes (incense, myrrh, aloes, sulfur, and camphor). The names of five genii were breathed above it, and then the sign was placed successively at the north, south, east, west, and center of the astronomical cross, while the letters of the sacred tetragram and various kabalistic names were prounced over it (See Kabala). It was believed to be of great efficacy in terrifying phantoms if engraved upon glass, and the magicians traced it on their doorsteps to prevent evil spirits from entering and good spirits from departing.
This symbol was used by many secret and occult societies, by the Rosicrucians, the Illuminati, down to the Freemasons of modern times. Modern occultists translate the meaning of the pentagram as symbolic of the human soul and its relation to God.
The Pentagram is placed with one point in the ascendant.
That point represents the Great Spirit, God. A line drawn from there to the left-hand angle at the base is the descent of spirit into matter in its lowest form; where it ascends to the righthand angle, it typifies matter in its highest form: the brain of man. From here, a line is drawn across the figure to left angle, representing man’s development in intellect; while progress in material civilization, the point of danger from which all nations have fallen into moral corruption, is signified by the descent of the line to right angle at the base. The soul of man being derived from God cannot remain at this point but must struggle upward, as is symbolized by the line reaching again to the apex, God, from which it issued. (See also ceremonial magic; magic; magical instruments and accessories; magical vestments and appurtenances)
These are geometrical designs representing the mysteries of deity and creation, therefore supposed to be of special virtue in rites of evocation and conjuration. Major diagrams are the Triangle; the Double Triangle, forming a six-pointed star and known as the Sign or Seal of Solomon; the Tetragram, a fourpointed star formed by the interlacement of two pillars; and the Pentagram, a five-pointed star. These signs were traced on paper or parchment or engraved on metals and glass and consecrated to their various uses by special rites.
The Triangle evoked a universal trinity found in all things— deity, time, and creation. The triangle was generally traced on the ground with the magic sword or rod, as in circles of evocation where the triangle was drawn within it and, according to the position of the magician at its point or base, so the spirits were ‘‘conjured’’ (summoned up) from heaven or hell.
The Double Triangle, or the Sign of Solomon, is symbolic of the macrocosm, and is formed by the interlacement of two triangles: its points thus constitute the perfect number six. Magicians wore it bound on their brows and breasts during ceremonies, and it was engraved on the silver reservoirs of magic lamps.
The Tetragram, symbolic of the four elements, was used in the conjuration of the elementary spirits—sylphs of the air, undines of the water, and the fire salamanders and gnomes of the earth. In alchemy it represented the magical elements salt, sulphur, mercury, and azoth; in mystic philosophy, the ideas Spirit, Matter, Motion, and Rest; in hieroglyphs, the man, eagle, lion, and bull.
The Pentagram, the sign of the microcosm, was held to be the most powerful means of conjuration in any rite. It might represent good as well as evil, for with one point in the ascendant it was the sign of Christ, and with two points in the ascendant it was the sign of Satan. By the use of the pentagram in these positions, the powers of light or darkness were evoked.
The pentagram was said to be the star that led the Magi to the manger where the infant Christ was laid.
The preparation and consecration of this sign for use in magical rites was prescribed with great detail. It might be composed of seven metals, the ideal form for its expression, or traced in pure gold upon white marble never before used for any purpose. It might also be drawn with vermilion upon lambskin without a blemish prepared under the auspices of the Sun.
The sign was next consecrated with the four elements, breathed on five times, dried by the smoke of five perfumes (incense, myrrh, aloes, sulfur, and camphor). The names of five genii were breathed above it, and then the sign was placed successively at the north, south, east, west, and center of the astronomical cross, while the letters of the sacred tetragram and various kabalistic names were prounced over it (See Kabala). It was believed to be of great efficacy in terrifying phantoms if engraved upon glass, and the magicians traced it on their doorsteps to prevent evil spirits from entering and good spirits from departing.
This symbol was used by many secret and occult societies, by the Rosicrucians, the Illuminati, down to the Freemasons of modern times. Modern occultists translate the meaning of the pentagram as symbolic of the human soul and its relation to God.
The Pentagram is placed with one point in the ascendant.
That point represents the Great Spirit, God. A line drawn from there to the left-hand angle at the base is the descent of spirit into matter in its lowest form; where it ascends to the righthand angle, it typifies matter in its highest form: the brain of man. From here, a line is drawn across the figure to left angle, representing man’s development in intellect; while progress in material civilization, the point of danger from which all nations have fallen into moral corruption, is signified by the descent of the line to right angle at the base. The soul of man being derived from God cannot remain at this point but must struggle upward, as is symbolized by the line reaching again to the apex, God, from which it issued. (See also ceremonial magic; magic; magical instruments and accessories; magical vestments and appurtenances)
Sources:
Barrett, Francis. The Magus: A Complete System of Occult Philosophy. London, 1801. Reprint, New Hyde Park, N.Y.: University Books, 1967.
Thompson, C. J. S. The Mysteries and Secrets of Magic. London, 1927. Reprint, New York: Causeway Books, 1974.
Waite, Arthur Edward. The Book of Ceremonial Magic. London: William Rider & Son, 1911. Reprint, New Hyde Park,
N.Y.: University Books, 1961. Woodroffe, Sir John. Sakti and Sakta. Madras, India: Ganesh, 1918.
Barrett, Francis. The Magus: A Complete System of Occult Philosophy. London, 1801. Reprint, New Hyde Park, N.Y.: University Books, 1967.
Thompson, C. J. S. The Mysteries and Secrets of Magic. London, 1927. Reprint, New York: Causeway Books, 1974.
Waite, Arthur Edward. The Book of Ceremonial Magic. London: William Rider & Son, 1911. Reprint, New Hyde Park,
N.Y.: University Books, 1961. Woodroffe, Sir John. Sakti and Sakta. Madras, India: Ganesh, 1918.
