How to Charge a Sigil

Earth: grounding, centering, nature, growth, life, creation, birth, fertility, health, the physical body, prosperity, money, savings, career, job, employment, business, maturity, age, boundaries, protection, home, family, trust, stability, reliability, practicality, strength, calm,

Air: voice, speech, eloquence, communication, intellect, memory, knowledge, information, education, school, song, music, youth, freedom, astral travel, mental power, divination, spirituality, finding lost things, happiness, joy, laughter, fairies, fae,

Fire: passion, desire, love, sex, sexuality, romance, protection (but with a kick), banishing, energy, inspiration, motivation, competition, athleticism, strength, empowerment, ego, success, leadership, courage, bravery, anger, power, destruction, purification,

Water: fluidity, flexibility, change, adaptability, intuition, maturity, rebirth, renewal, mental health, emotions, sadness, dreams, sleep, psychic powers, travel, cleansing, beauty, appearance, healing, menstruation,

Sunlight: clarity, understanding, finding, truth, sight, vision, learning, school, education divination, confidence, happiness, mental health, anti-depressant, beauty, clear skin, perfection, talent, glory, prosperity, friendship,

Moonlight: dreams, sleep, astral travel, clairvoyance, potential, prophecy, mystery, secrets, love, menstruation,

Music: musical instruments, singing, dance, art, emotions, creativity, mix and match! (match the music to the intent: lullabies for sleep and dreams, love songs for relationships, etc.)

Personal Energy: confidence, anti-anxiety, self-love, self-harm, personal characteristics, anything personal,

How to charge sigils

Here are a few specific examples of how to use those charging methods. Whatever method you choose it is important to focus on the intent of the sigil as you do it. You are directing the energy from whatever source into your sigil to accomplish a particular goal.

Fire
Draw it on paper (or something safe to burn) and burn it
Draw it on a firework and set it off
Carve it into a candle, light it, and let the sigil melt away
Place it close to a flame to absorb the light and heat

Air
Draw it on wind chimes and hang them up
Hang it up somewhere it can blow around in the breeze by a fan
Draw it on a balloon, blow the balloon up, and pop it
Draw it on a kite and fly it

Water
Draw it on something soluble and dissolve it in water
Draw it on a rock (or something non-soluble) and place it in running water
Draw it with something food safe on a tea bag and drink it (It’s more using a sigil to charge the tea, but whatever)
Draw it on yourself then take a shower and let it wash away
Draw it in chalk on the sidewalk to wash away in the rain

Earth
Draw it on something biodegradable and bury it
Transfer energy from previously charged crystals
Draw it in the dirt somewhere it will be worn away

Light
Place it in the sun or moonlight
Draw it with/in something that will disappear: lemon juice on paper, fog in a mirror, etc.
Paint it with glow in the dark paint, the light used to charge the paint and its own glow charges the sigil

Technology
Place it on/under a device that is plugged in and charging
Open the image on your computer and play a video game on top of it
Use the sigil as your background or screensaver or just leave it up for a while to be charged by the screen’s light and energy of the computer
Open the sigil in a paint or photo editing program, cut it to pieces, and delete them (like you would tear up a piece of paper)
Place the sigil on/near speakers and play music (match the music to the intent of the sigil)
Post the sigil on social media with the intent that it charge with every like/reblog/thumbs up/etc.

Personal Energy (Mental and Physical)
Direct your own personal energies into the sigil
Draw it on yourself or something you have on you as you exercise: dance, run, play sport, etc.
Have the sigil on/near you and focus on it as you have sex/masturbate and orgasm
Have the sigil on/near you and focus on it while experiencing pain
Have the sigil on/near you and focus on it while experiencing extreme emotion
Add a drop of blood to the sigil

Other
Sing or play an instrument to it
Place it in a music box, wind it up and let the music charge it
Draw it on paper and tear the paper up
Draw the sigil with food or carve it into food and eat it (bonus if it’s baked/cooked/etc.)
Draw it on the bottom of your shoes and walk around
Draw it on yourself with lotion or makeup and blend it in
Carve it into a bar of soap and wash with it

Lecture: A Beginner’s Guide to Sigil Craft

 Sigils are a low-magick technique which will not fail to get you exactly what you need. It can become a high-magick technique but for the moment we’ll just stick to the basics.

One important thing to note is that sigils always appear to work. The distinction being; if I kicked in a window, I’d feel I knew who’d done it. If I cast a sigil which asked for that window to be broken and then discovered a few days later it was now broken, no one can prove a causal relationship between the sigil and the broken window. However I might get the impression that my sigil was involved in the process somewhere.

Secondly, the following is a (in my opinion better) version of other ideas that have been kicking round recently such as, The Secret, Cosmic Ordering, and, to a lesser extent, “positive thinking”. It’s also similar to “preying,” if you think your God lives within you.

All these above techniques have common elements. All of them are pretty much in agreement regarding the first part of the process, set your intent. The most effective Discordian occultists spend more time on step one than they ever do on step four.

Step one: Decide upon your will.

All your workings should be done with pieces of paper and a pen.

This is the hardest part. You need to imagine what it is you want as clearly as possible. Then refine it until you’ve got a vision of what it is you ‘really’ want. Then refine it again after you’ve imagined the earth shifting upon its axis in order to grant this wish over the next few years. Check you’re good with the consequences and then, refine it again. I can’t emphasise this enough. See the further reading section for more details.

Once you’re happy write it out as a single sentence:

EG: I AM A HEALTHY FOURTEEN AND A HALF STONE, ENERGETIC PERSON.

Notice a few things about the above. When I cast this I wanted to be 14 and a half stone. There are many ways this could have happened, some of them include ill health. Hence the words healthy and energetic.

Think of those old fairy stories where someone makes a wish and there are tragic consequences. King Midas wanted everything he touched to turn to gold. He ends up regretting his wish. The difference between your sigil becoming a blessing or a curse is in its detail. Give it lots of thought. Write and re-write the sentence. Check the further reading section for more information.

Also notice, it’s not “I WANT TO BE” or “I AM THIS AND NOT THAT”. Negatives in sigils are just negative! If you write “I WANT TO BE A MILLIONAIRE” look forward to a life of wanting to be a millionaire. Remember what we learned in part one where you began lucid dreaming. What would happen to you if you dived into the dream world with negatives in your mind?

If you truly have followed this series from part one, as opposed to most who will have just casually landed on it and curiously read to this point, why not try to lucid dream your intended future first and try it out a bit? If, for example, having lots of sexual partners gets messy in that world ditch it and come up with a better wish. It needs to feel like a world you are comfortable in. Once that’s the case, state it as if you are already there, in that positive future.

As an exercise imagine you’re in that future calling back into the past when you wrote out this sigil. Try describing and declaring what it’s like in as much detail as possible. Now listen out for your “imaginary” future self shouting “I’m the owner of a brand new convertible and I love it” or whatever. Now, write it down!

Finally a note of caution here. Remember we spoke about ‘true will’ in the last piece? Well, if your dreams and visions involve others do not enchant realities which compromise their true will.

So, for example, don’t put “I am married to Dave who works in accounts”. Ask for a less uncompromising: “I’m married to a bloke like Dave who works in accounts”. This doesn’t rule Dave out of the equation, after all who is more like Dave than Dave? However if he thinks you’re a repulsive creature who he’d rather vomit over than have sex with, you’ve given the poor guy a get out and you can still get what you need. Far better to enchant someone, like him who likes you of their own free will.

It’s not unlikely you’ll encounter minor problems with all this but remember what you learned in part three and fear not: you will live and learn!

There’s nothing to stop you doing another sigil in the future.

Step Two: Remove the vowels and repeated letters.

The first step was by far the most important part. These next bits are 1% of sigil craft and the bit you’ve just done was the remaining 99%. However, this 1% which I’m about to explain is the more “magick” bit. It’ll make you feel more like ‘an occultist’ and there’s enormous value in that.

This means you should check you’re comfortable with what you’ve just done as part of this second step. You need to feel good on both a subconscious and intuitive level about the sentence you’re turning into a weird looking symbol. If you’re not it’ll come out in the process later on once the sigil is cast. For now, I’ll assume you are and crack on.

Firstly, sigils are crafted and re-drafted by a process of elimination. Like a sculpture you’re going to chip and chisel that sentence down until it looks like a sort of magical wingding. Begin this by removing the vowels and repeated letters, leaving yourself with a string of consonants, like so:

MHLTYFRNDSGCP

Step three: Combine the letters into one big pattern and begin reducing it into a simpler image.

This bit is where most people get in a tizz. Remember the most difficult part of the process was over once you’d finished step one. There are no rules as to how you go about combining the letters but I find it best to jumble them all into one big squiggle. The main picture is an example of the one we’re looking at. Ultimately it was successful and I used a revised version to hit my target weight of 13.5 a year later. This is down from my initial 18.5 stone.

Keep re-drawing it and omitting details as you go along. The point of this process is to lose sight of what it is the sigil means. Keep drawing until the exact point of your work is irrelevant to you. Get really bored of the process and lose sight of why it is you’re bothering with such superstitious nonsense. Make it look more and more “magickal” to you. Hit a point where it starts to become a labour of love which is totally detached from your initial intent.

The finished product must look perfect and beautiful. It represents the total of your efforts. This is now a sigil, yet to be cast. It represents a thought which you are about to plant into the collective dreamworld so it can start to descend into the world of objective reality and your future.

Treasure it a bit. Don’t cast it straight away. Be pleased with it.

Step Four: Cast it.

People are divided upon how exactly you should do this. You’re looking for an intense transcendental experience where you can focus on this image and force it through your mind into the magical dream world while you are fully conscious. Pain, meditation, orgasm, psychedelic-transcendental drugs or all of the above combined are popular methods. Whichever you’re best at. Combine the intense experience with a good solid look at the sigil. Then close your eyes and think of it. Project it into your minds eye and out into the cosmos. Then destroy the paper it is drawn on and forget all about it.

One simple way, which I use, is with a candle. Have the sigil drawn on a piece of paper. Burn it and then let the flame burn (but not harm) your fingertips. At that precise moment close your eyes and picture it in your mind. There we are, it’s cast. The pain should have done enough to distract you and send it neatly into the world of ideas…

Once you’ve cast your sigil you must then aid its descent into the real world. If you asked for a new job, get applying for them. If you wanted to lose weight like I did, stop eating those chocolate cakes.

CLASSIFIED LIST OF THE 72 CHIEF SPIRITS OF THE GOETIA, ACCORDING TO RESPECTIVE RANK

(Seal in Gold.) KINGS. - (1.) Bael; (9.) Paimon; (13.) Beleth; (20.) Purson; (32.) Asmoday; (45.) Vine; (51.) Balam; (61.) Zagan; (68.) Belial.

(Seal in Copper.) DUKES. - (2.) Agares; (6.) Valefor; (8.) Barbatos; (11.) Gusion; (15.) Eligos; (16.) Zepar; (18.) Bathim; (19.) Sallos; (23.) Aim; (26.) Bune; (28.) Berith; (29.) Astaroth; (41.) Focalor; (42.) Vepar; (47.) Vual; (49.) Crocell; (52.) Alloces; (54.) Murmur; (56.) Gremory; (60.) Vapula; (64.) Haures; (67.) Amdusias; (71.) Dantalion.

(Seal in Tin.) PRINCES AND PRELATES. - (3.) Vassago; (12.) Sitri; (22.) Ipos; (33.) Gaap; (36.) Stolas; (55.) Orobas; (70.) Seere.

(Seal in Silver.) MARQUISES. - (4.) Samigina; (7.) Amon; (14.) Leraje; (24.) Naberius; (27.) Ronove; (30.) Forneus; (35.) Marchosias; (37.) Phenex; (43.) Sabnock; (44.) Shax; (59.) Orias; (63.) Andras; (65.) Andrealphus; (66.) Cimeies; (69.) Decarabia.

(Seal in Mercury.) PRESIDENTS.- (5.) Marbas; (10.) Buer; (17.) Botis; (21.) Marax; (25.) Glasya-Labolas; (31.) Foras; (33.) Gaap; (39.) Malphas; (48.) Haagenti; (53.) Caim; (57.) Ose; (58.) Amy; (61.) Zagan; (62.) Valac.

(Seal in Copper and Silver alike equal.) EARLS, or COUNTS. - (17.) Botis; (21.) Marax; (25.) Glasya-Labolas; (27.) Ronove; (34.) Furfur; (38.) Halphas; (40.) Raum; (45.) Vine; (46.) Bifrons; (72.) Andromalius.

(Seal in Lead.) KNIGHTS. - (50.) Furcas.

NOTE. - It will be remarked that several among the above Spirits possess two titles of different ranks; e.g., (45.) Vine is both King and Earl; (25.) Glasya-Labolas is both President and Earl, etc. “Prince” and “Prelate” are apparently used as interchangeable terms. Probably the Seals of Earls should be made of Iron, and those of Presidents in mixture either of Copper and Silver, or of Silver and Mercury; as otherwise the Metal of one Planet, Mars, is excluded from the List; the Metals attributed to the Seven Planets being: to Saturn, Lead; to Jupiter, Tin; to Mars, Iron; to the Sun, Gold; to Venus, Copper; to Mercury, Mercury and mixtures of Metals, and to Luna, Silver.

In a manuscript codex by Dr. Rudd, which is in the British Museum, Hebrew names of these 72 Spirits are given; but it appears to me that many are manifestly incorrect in orthography. The codex in question, though beautifully written, also contains many other errors, particularly in the Sigils. Such as they are, these names in the Hebrew of Dr. Rudd are here shown. (See Figures 81 to 152 inclusive.)

PRACTICAL EVOCATION

A. The Magical Circle.

B. The Magician, wearing the great lamen of the Hierophant, and his scarlet robe. The Hierophant's lamen is on the back of a pentacle, whereon is engraved the sigil of the spirit to be invoked.

C. The Names and Formulae to be employed.

D. The symbol of the whole evocation.

E. The construction of the circle and the placing of all the symbols, &c., employed in the places proper allotted to them, so as to represent the interior of the G.'. D.'. Temple in the "Enterer": and the purification and consecration of the actual pieces of ground or place selected for the performance of the invocation.

F. The invocation of the Higher Powers. Pentacle formed by the concentric bands, name and sigil therein, in proper colours; is to be bound thrice with a cord, and shrouded in black, thus bringing into action a blind force, to be further directed or differentiated in the process of the ceremony. "Announcement" aloud of the "object" of the working, naming the Spirit or Spirits

which it is desired to evoke. This is pronounced standing in the centre of the circle, and turning towards the quarter from which the Spirit will come.

G. The name and sigil of the spirit wrapped in a black cloth or covering is now placed within the circle, at the point corresponding to the West, representing the candidate. The Consecration, or Baptism by water and fire of the sigil then takes place: and the proclamation in a loud and firm voice of the spirit (or spirits) to be evoked.

H. The veiled sigil is now to be placed at the foot of the altar. The Magician then calls aloud the name of the spirit, summoning him to appear: stating for what purpose the spirit is evoked: what is desired in the operation: why the evocation is performed at this time: and finally solemnly affirming that the Spirit SHALL be evoked by the ceremony.

I. Announcement aloud that all is prepared for the commencement of the actual evocation. If it be a "good" Spirit the sigil is now to be placed "within" "the white triangle." The Magician places his left hand upon it, raises in his right hand the magical implement employed (usually the sword of Art) erect, and commences the evocation of the Spirit. This being an exorcism of the Spirit unto visible appearance. The Magician stands in the place of the Hierophant during the obligation, and faces West irrespective of the particular quarter of the Spirit.

But if the Nature of the Spirit be evil, then the sigil must be placed "without" and to the West of the white triangle; and the Magician shall be careful to keep the point of the magic Sword upon the centre of the sigil.

J. Now let the Magician imagine himself as "clothed outwardly" with the semblance of the form of the Spirit to be evoked: and in this let him be careful "not to identify himself" with the Spirit, which would be dangerous, but only to formulate a species of Mask, worn for the time being. And if he know not the symbolic form of the Spirit, then let him assume the form of an angel belonging unto the same class of operation. This form being assumed, then let him pronounce aloud, with a firm and solemn voice, "a convenient and potent" "oration and Exorcism of the Spirit unto visible appearance."

At the conclusion of this exorcism, taking the covered sigil in his left hand, let him smite it thrice with the "flat" blade of the Magic Sword. Then let him raise on high his arms to their utmost stretch, holding in his left hand the veiled sigil, and in his right the sword of Art erect, at the same time stamping thrice upon the ground with his right foot.

K. The veiled and covered sigil is then to be placed in the Northern part of the Hall, at the edge of the circle, and the Magician then employs the oration of the Hierophant from the throne of the East, modifying it slightly, as follows: "The Voice of the Exorcism said unto me; let me shroud myself in darkness, peradventure thus may I manifest myself in Light," &c. The Magician then proclaims aloud that the Mystic Circumambulation will take place.

L. The Magician takes up the sigil in his left hand, and circumambulates the magic circle once, then passes to the South and halts. He stands (having lain his sigil on the ground) between it and the West, repeats the oration of the Kerux, and again consecrates it with water and with fire. Then takes it in his hand, facing westward, saying: "Creature of ... twice consecrate, thou mayest approach the Gate of the West."

M. The Magician now moves to the West of the magical circle, holds the sigil in his left hand and the Sword in his right, faces S.W., "and again" "astrally masks himself with the Form of the Spirit:" and for the first time partially opens the covering, without, however, entirely removing it. He then smites it once with the flat blade of this sword, saying in a loud, clear and firm voice: "Thou canst not pass from concealment unto manifestation, save by virtue of the Name \ y h l a [HB:Mem-final HB:Yod HB:Heh HB:Lamed HB:Aleph]. Before all things are the Chaos, and the Darkness, and the Gates of the Land of Night. I am he whose Name is 'Darkness': I am the Great One of the paths of the shades. I am the Exorcist in the midst of the exorcism; appear thou therefore without fear before me; for I am he in whom fear is not! Thou hast known me; so pass thou on!" He then reveils the sigil.

N. Operations in L repeated at the North.

O. Processes in M are repeated in the N.W. Magician then passes to the East, takes up sigil in left hand, and Lotus Wand in right; "assumes the mask" "of the Spirit-Form;" smites sigil with Lotus Wand and says: "Thou canst not pass from concealment unto manifestation save by virtue of the name h w h y [HB:Heh HB:Vau HB:Heh HB:Yod]. After the formless and the void and the Darkness, there cometh the knowledge of the Light. I am that Light which riseth in the Darkness! I am the Exorcist in the midst of the exorcism; appear thou therefore in harmonious form before me; for I am the wielder of the forces of the Balance. Thou hast known me now, so pass thou on unto the cubical altar of the Universe.

P. He then re-covers sigil and passes on to the altar laying it thereon as before shown. He then passes to the East of the Altar holding the sigil and sword as explained. Then doth he rehearse a most potent conjuration and invocation of that Spirit unto visible appearance, using and reiterating all the Divine angelic and magical names appropriate to this end, neither omitting the signs, seals, sigilla, lineal figures, signatures and the like, from that conjuration.

Q. The Magician now elevates the covered sigil towards Heaven, removes the veil entirely (leaving it yet corded); crying in a loud voice: "Creature of ... long hast thou dwelt in Darkness, quit the Night and seek the Day." He then replaces it on the altar, holds the magical sword erect above it, the pommel immediately above the centre thereof, and says: "By all the Names, powers, and rites already rehearsed, I conjure Thee thus unto visible appearance." Then the Mystic words.

R. Saith the Magician: "As the Light hidden in the Darkness can manifest therefrom, SO SHALT THOU become manifest from concealment unto manifestation."

He then takes up sigil, stands to the East of the Altar and faces West. He shall then rehearse a long conjuration to the powers and Spirits immediately superior unto that one which he seeks to invoke: "that they shall force him to" "manifest himself unto visible appearance." He then places the sigil between the pillars, himself at the East facing West. Then in the sign of the Enterer doth he direct the whole current of his will upon the sigil. Thus he continueth until such time as he shall perceive his will-power to be weakening, when he protects himself from the reflex of the current by the sign of silence, and then drops his hands. He now looks towards the Quarter that the Spirit is to appear in, and he should now see the first signs of his visible manifestation. If he be "not" thus faintly visible, let the Magician repeat the Conjuration of the Superiors of the Spirit; "from the place of the" "Throne of the East." And this conjuration may be repeated thrice, each time ending with a new projection of will in the sign of the Enterer, &c. But if at the third time of repetition he appeareth not, then be it known that there is an error in the working. So let the Master of Evocations replace the sigil upon the altar, holding the sword as usual, and thus doing "let him repeat a" "humble prayer unto the Great Gods of Heaven to grant unto him the force" "necessary correctly to complete that evocation."
He is then to take back the Sigil to between the Pillars, and repeat the former processes; "when assuredly that Spirit will begin to manifest, but in a" "misty and ill-defined form."

(But if, as is probable, the operator be naturally inclined unto evocation, then might that Spirit perchance manifest earlier in the ceremony than this: still the ceremony itself is to be performed up to this point, whether he be there or no.)

Now so soon as the Magician shall see the visible manifestation of that spirit's presence, he shall quit the station of the Hierophant and consecrate afresh with Water and with Fire the Sigil of the evoked Spirit.

S. Now doth the Master of the Evocation remove from the sigil the restricting cord; and, holding the freed sigil in his left hand, he smites it with the flat blade of his sword; exclaiming: "By and in the Names of ...... I do invoke upon thee the power of {p}erfect manifestation unto visible appearance!"
He then circumambulates the circle thrice, holding the sigil in his "right" hand.

T. The Magician, standing in the place of the Hierophant, but turning towards the place of the Spirit, and fixing his attention thereon, now reads a "potent invocation of the Spirit" unto visible appearance; having previously placed the sigil on the ground, within the circle at the quarter where the Spirit appears. This invocation should be of some length, and should rehearse and reiterate the Divine and other names consonant with the working. That Spirit should now become fully and clearly visible, and should be able to speak with a direct voice (if consonant with his nature). The Magician then proclaims aloud that the Spirit N hath been duly and properly evoked, in accordance with the sacred rites. {154}

U. The Magician now addresses and Invocation unto the Lords of the Plane of the Spirit to compel him to perform that which the Magician shall demand of him.

V. The Magician carefully formulates his demands, questions, &c., and writes down any of the answers that may be advisable.

W. The Master of Evocations now addresses a conjuration unto the spirit evoked, binding him to hurt or injure naught connected with him; or his assistants; or the place; and that he fail not to perform that which he hath been commanded, and that he deceive in nothing. He then dismisses that Spirit by any suitable form such as those used in the four higher grades in the Outer.

And if he will "not" go, then shall the Magician "compel" him by forces contrary unto his nature. But he must allow a few minutes for the Spirit to dematerialise the body in which he hath manifested; for he will become less and less material by degrees. 

And note well that the Magician (or his companions if he have any) shall "never" quit the circle during the process of Evocations; or afterwards, till the Spirit be quite vanished, seeing that in some cases and with some constitutions there may be danger arising from the astral conditions and currents established; and that without the actual intention of the Spirit to harm, although, if of a low nature, he would probably endeavour to do so.

Therefore, before the commencement of the Evocation let the operator assure himself that everything which may be necessary be properly arranged within the circle.

But if it be actually necessary to interrupt the process, then let him stop at that point, veil and re-cord the sigil if it have been unbound or uncovered, recite a Licence to depart or banishing formula, and perform the lesser Banishing rituals both of the Pentagram and Hexagram. * Thus only may he in comparative safety quit the circle.

Greater Ritual of the Hexagram - Aleister Crowley

The Greater Ritual of the Hexagram is one of several rituals within "Liber O" written by Aleister Crowley after the techniques of the Hermetic Order of the Golden Dawn. It is used to invoke or banish the energies of either the Planets or the Signs of the Zodiac.

Procedure

Crowley writes:

The hexagram of Earth alone is used. ... Trace the astrological sigil of the Planet in the center of your Hexagram. For the Zodiac, use the Hexagram of the Planet which rules the Sign you require; but draw the astrological sigil of the Sign, instead of that of the Planet. In all cases use a conjuration first with Ararita, and next with the name of the God corresponding to the planet or sign you are dealing with.

Unlike the Lesser Ritual of the Hexagram, the Greater Ritual does not come with a step-by-step instruction in Liber O.

According to some magicians, the procedure of the ritual is exactly the same as the Lesser Ritual of the Hexagram except for the figures that are "drawn" and the addition of a god name.

These practitioners interpret the "conjurations" specified by Crowley as simple vibrations of "Ararita" and the name of the God corresponding to the planet or sign.

A different and more sophisticated reading dictates that the magician not work in the four quarters, but rather towards the actual position of the planet (or zodiacal sign) in the heavens. (Failing that, work towards the direction of the element associated with the sign or planet.) The "conjurations" in this case are more elaborate invocations, whether extemporized, of original composition, quoting from the Holy Books of Thelema, or otherwise elaborated. In this method of working, the ritual must be carefully tailored to the specific occasion and purpose, although individual magicians may develop a repertoire of planetary conjurations to use within the "Greater Hexagram" mode of operation.

For example, to invoke Jupiter, the Magician would face the direction of Jupiter at the place and hour appointed, and sound a battery of four knocks (four being the number of Jupiter). Then he would recite an ARARITA invocation (derived in this case from "Liber DCCCXIII"):

O my God! One is Thy Beginning! One is Thy Spirit, and Thy Permutation One! Thou has appeared unto me as a jocund and ruddy God, full of Majesty, a King, a Father in his prime. Thou didst bear the sceptre of the Universe, crowned with the Wheel of the Spirit. ARARITA!

Having drawn the proper hexagram, he would proceed to an invocation of Jupiter. This example is modified slightly from Thomas Taylor's translation of the Orphic hymn to "Jove, as the Author of Lightning":

Come, O JOVE, on Thee I call! JOVE! JOVE!

I call the mighty, holy splendid light,

Aerial, dreadful-sounding, fiery-bright;

Flaming, aerial-light, with angry voice,

Lightning thro' lucid clouds with horrid noise.

Untam'd, to whom resentments dire belong,

Pure, holy pow'r all-parent, great and strong:

Come, and benevolent these rite attend,

And aid my will to realize its end.

Having drawn the sigil of Jupiter, the magician would then declare Jupiter duly invoked.

Ritual components

Hexagrams

t

Signs of the planets and Zodiac