Picatrix

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 Picatrix (Ghayat al-Hakim).

TRANSLATOR'S PREFACE AND INTRODUCTION

The eleventh-century Arabic manuscript

Ghayat Al-Hakim is a challenging work, blending metaphysics, philosophy, theology, and science, with its language drawing specialized meaning from each discipline. Translating such a medieval text on astrology requires not just technical skill but a deep understanding of the subject, as a single Arabic sentence from that period can equate to an entire paragraph in modern English. The aim of this translation is to provide a faithful rendition that captures both the author’s basic intent and the rich, multi-layered depths of his philosophical approach.

The Picatrix, as it is known in the West, is a major contribution to Hermetic literature, consisting of four books on the art and practice of astrological, talismanic, and astral magic. Its author, likely Pseudo-al-Majriti, compiled information from 224 ancient sages with the goal of uniting these diverse arts into a practical system. The text’s style resembles that of the Ikhwan al-Safa (the Brethren of Purity), drawing from a wide range of sources including Aristotle, Plato, Pythagoras, as well as Persian, Indian, and Arab traditions. First brought to the West in the thirteenth century by Alphonso the Wise, the work was transmitted through prominent figures like Marsilio Ficino and Henry Cornelius Agrippa, establishing it as an important link in the history of Hermeticism.

PROLOGUE AND THE NATURE OF WISDOM

In the name of Allah, this book, titled

The Goal of the Wise, was written to reveal the secrets of philosophers and the miracles of their science, which they intentionally concealed in vague language and indecipherable symbols. The work is divided into four books. The first deals with the virtue of wisdom and the astrological ratios for making talismans. The second explains astrological pictures and their functions. The third concerns the fortunes of the planets and their use in potions and incenses. The fourth covers the magic of the Kurds, Nabateans, and Abyssinians.

Wisdom is the knowledge of the sublime reasons for which all beings exist, ascending in order to the One Being, who is self-sufficient and the original Truth from which all other truths are derived. It is a virtuous talent that enlightens the mind and soul, motivating them to ascend from the mortal world to the higher, distinguished world. This process is the very reason for creation, as God created djinn and men so that they might know Him. The conclusion derived from wisdom is the fruit of analogy, and its rank is similar to that of a deduction on the scale of logic, which the Greeks call 'syllogismus.'

THE ESSENCE OF MAGIC AND ASTROLOGY

The conclusion sought through wisdom is what is termed magic: everything that fascinates minds and attracts souls through words and deeds, with its causes veiled from the simple. Magic's subject is a spirit within a spirit, encompassing analysis and imagination, whereas a talisman is a spirit within a body, and chemistry is a body within a body. A talisman’s name in Arabic, talsam, when reversed becomes maslat, meaning domination, because its essence is coercion and control, using numerical ratios, astrological secrets, and powerful incenses to bring forth its spirit. To philosophers, a talisman is like an elixir, a coercing force that transforms a substance into its own essence.

Magic is divided into two branches: theoretical and practical. The theoretical science deals with knowing the positions of planets and the astrological ratios needed to achieve a desired outcome. The practical science deals with the three generating origins (animals, plants, metals) and the planetary forces that emanate into them, often employed through magical tricks known as nayranjat. Understanding this science requires knowledge of astrology, including the twelve signs, the seven planets, the two nodes, and the principles governing their influences on all beings in this world.

The celestial sphere is a perfect, circular physical ball, and its 360 degrees and corresponding images contain the rules that manage the world. The influence of a planet is determined by its position within a specific degree, through which it moves certain qualities to Earth. For example, Saturn moves cold and dryness, while Mars moves heat and dryness; the fixed planets have similar functions. Ancient philosophers intentionally veiled these concepts in vague language, concealing their intrinsic meaning from the uninitiated.

PRACTICAL ASTROLOGY FOR MAKING TALISMANS

The maker of a talisman must be knowledgeable of astrological ratios, confident in his work, and clear of doubt, so that his will may join with the causes to obtain the sought result. A foundational principle is to understand the functions of the Moon in its 28 positions, or houses, as relied upon by the Indians.

  • The 28 Lunar Mansions. For creating discord, a talisman can be made when the Moon is in the House of Al-Sharatein. For finding buried treasure, use the House of Al-Botein. For the safety of sea travelers, use Al-Thurayya. For corrupting a city or attracting scorpions, use Al-Debaran. For the welfare of children and travelers, use Al-Haq'a. For retaliating against kings and ruining crops, use Al-Han'ah. For the blessing of trade, use Al-Dhira. For reconciling estranged couples or repelling mice, use Al-Nathrah. For ruining crops and jailing an adversary, use Al-Tarf. For reconciling spouses or strengthening a building, use Al-Jabbah. For gaining the compassion of kings or besieging cities, use Al-Zubrah. For increasing farms or breaking ships, use Al-Sarfah. For promoting trade and releasing captives, use Al-Awwa. For reconciling spouses or harming a traveler, use Al-Simak. For drilling wells or creating discord, use Al-Ghafar. For damaging shops or separating friends, use Al-Zubana. For improving livestock or stabilizing buildings, use Al-Iklil. For pledging loyalty to kings or releasing slaves, use Al-Kalb. For isolating cities or defeating enemies, use Al-Shaulah. For taming animals or bringing a person home, use Al-Na'aim. For stabilizing buildings or divorcing a wife, use Al-Bal'dah. For treating disease or separating lovers, use Sa'd al-Da'bih. For damaging assets or saving captives, use Sa'd Bula. For bringing victory to armies, use Sa'd al-Su'ud. For harming enemies or establishing buildings, use Sa'd al-Alibiya. For restoring love or restraining a captive, use Al-Fargh al-Mukdim. For successful trade or damaging relationships, use Al-Fargh al-Mu'hir. And for productive crops or restraining prisoners, use Al-Risha.

When making talismans for good deeds, the Moon must be clear of misfortune and burning, and replete with good luck; for evil acts, the opposite is required. The substance of the talisman must be prepared to accept the influence, just as wax accepts a picture or the killed accepts the act of the killer. Furthermore, one must follow astrological principles: use daytime constellations for work done during the day and night-time constellations for work at night. Avoid a lunar eclipse when making talismans for good deeds, and beware when the Moon is in proximity to Mars or Saturn or is declining.

Specific talismans require precise celestial configurations. For instance, a talisman for uniting two lovers should be made in the hour of Jupiter when the ascendant has Venus and the Dragon's Head conjunct or facing it. A talisman for destroying an enemy is made in the hour of Mars when the Moon is in Scorpio, with misfortune brought to the ascendant and its master. To improve a city, bring good luck to the tenth, second, and eighth houses, their masters, and the Moon. To expand wealth, bring good luck to the ascendant, the second and tenth houses, and let a share of fortune be in the ascendant or tenth house. For permanent love, one can make two talismans when the Moon and Venus are in Taurus, drawing 220 thousand on one and 284 thousand on the other, then burying them together; these are the loving numbers.

The words spoken during the making of a talisman are also crucial, as they move spiritual powers, especially when said with a sound intention. For love, one might say, "I hereby unite so-and-so with so-and-so in harmony and love in the same manner fire and air, and water and earth are united." For enmity, one says, "I hereby sever the relationships between them... the same way light is separated from darkness." These incantations must align with the intended objective, supported by the maker’s full conscious and mental strength.

MAN AS MICROCOSM AND THE HIERARCHY OF BEING

A fully knowledgeable person understands that the human being is a microcosm of the larger world, a complete entity composed of speech, animal, and plant characteristics. A human is distinguished from animals by speech, which grants the capability to create talismans, recall the absent through reflection, and perceive what cannot be physically seen. The human body mirrors the cosmos in its structure: the round head resembles the celestial sphere; the eyes are like the Sun and Moon; the seven abdominal organs correspond to the seven moving planets; the 28 joints match the 28 houses of the Moon; and the 365 arteries equal the number of celestial degrees. The human being is composed of a perishable, partial self and a whole, eternal self of reason. This is analogous to the Elements, which are perishable in part (as water becomes air) but survive as a whole. There is a hierarchy of being in which the body is a shell for the partial human, which is a shell for the whole human, which is a shell for the whole spirit, which is a shell for the mind, which evolved from the primordial light.

Beings exist in a specific order of ranks. The highest rank is the High Being of creation, followed in descent by the mind, the spirit, the primordial, the orbit of nature, and finally the orbit of the Moon. From this lowest point, the order begins to ascend through common matter, the Elements, metals, plants, animals, and finally to speaking animals (humans), who possess wisdom and act willfully. A more detailed order is: the principle, the element, the Elemental, the primordial, the image, nature, the body, the growing, the animal, the human being, the man, the obscure, and the known. This knowledge constitutes the spiritual talismans that Adam learned from his Lord, comprehensible only to those in touch with the total reality.

OBTAINING KNOWLEDGE AND UNDERSTANDING CELESTIAL IMAGES

True knowledge of how the higher world affects the lower cannot be attained without mastering the three branches of philosophy: the mathematical arts (for numbers and geometry), the physical arts (for recognizing near causes), and the metaphysical arts (for knowing which beings are affected). The author himself was motivated to pursue this science after reading Ptolemy’s

The Fruit, which states that images in the world of creation are obedient to celestial images, and then successfully testing this principle by creating a talisman to cure a scorpion bite.

The images that appear in the constellations have two phases. The first are the 48 imaginary images drawn by connecting fixed stars to form figures like Canis and Ursa. The second are the symbolic images described by the Indians, such as the proud man with red eyes in the first phase of Aries, which are allegorical representations of the characteristics of the stars and planets governing that phase. Ancient philosophers built the art of talismans on the symbolic actions of these images. Hermes explained that there are countless actions produced by planets in each degree of their path, and that the total number of controlling images formed by the possible conjunctions of the seven planets is 10,006, all producing miraculous effects.

THE INFLUENCE OF THE SUN, MOON, AND PLANETARY MOTION

While some believe all actions are produced only by the Sun and Moon, with other planets merely strengthening their effects, a deeper understanding is required. The Moon’s influence changes through its five phases in relation to the Sun: as it moves from new to full, its power to move moisture and heat grows, affecting plants and animals. There is a consensus among the ancients that the Moon is most effective when it conjoins the Sun, as it rejoices like a traveler returning home. The Sun is responsible for bringing all things from non-existence to being, while the Moon exposes their effects. Tragedies on earth, like eclipses, are the result of accidental celestial events that affect complex bodies.

A great concealed secret of the ancient talisman-makers was their understanding of the incoming-and-outgoing movement of the celestial sphere. In each quarter of the sphere, eight parts move inwardly and eight move outwardly, completing a full cycle every 360 years. This movement is the backbone of making talismans for the purpose of producing images.

THE DISTRIBUTION AND PRINCIPLES OF MAGICAL ARTS

Hermes divided the magical arts into three types: the art of talismans, practiced by the Sabians and Nabateans; the art of stars, pioneered by the Greeks; and the art of inspirations and spirits, a specialty of the Indians, Yemenis, and Copts. The Indians possess strange secrets, such as impregnating a woman through certain movements, and believe in a world of djinn guided by Saturn and the Dragon’s Tail. The truth of dreams is an objective representation derived from the mind’s connection with the celestial world. If the rational mind is perfect, a dream image (like a lion) will appear as it is; if the imagination is more perfect, it will be perceived by its meaning (a lawman or thief).

For a talisman to work, it must be created with an image of acceptance, so that the contribution from the planets is given willingly. The talisman's body is composed of ingredients that, when combined, accept the sought result, just as medicines are compounded to treat illness. A key principle is that slower planets have stronger and more elegant effects, while faster ones are weaker. Saturn’s influence, for example, is greater than that of all other planets because of its height and lethargic motion.

The arts also depend on understanding quantity and quality. Quantity is divided into the connected (line, plane, body, time, place) and the separate (statement, number). The line is the straight azimuth between the planet, the talisman, and its target, which must be unobstructed for the contribution to be complete. Time is crucial for observing the correct planetary configurations. Quality is the real cause of a talisman's power, as its substance and location must be similar to the contributing planet to accept its effects. The guiding principle is to seek similitude and avoid contrariness in every action. This is based on a hierarchy of natural combinations, from the simple elements of heat and coldness to the complex compounds that make up bodies, plants, and rocks.

A CATALOG OF TALISMANS AND THEIR CONSTRUCTION

  • Symbols of Fixed Planets. To repel a mouse, draw a symbol of a plus sign (+) on a red tin plate at the rise of the first phase of Leo. To repel mosquitoes, draw a specific symbol on a sulfur stone at the rise of the second phase of Taurus. To promote enmity, draw its corresponding symbol on a black tin plate in the hour of Saturn, when it is in the third phase of Gemini.

  • Stones and Images of the Planets. Each planet is associated with specific stones and images. Saturn's stones include iron, diamond, and turquoise. Jupiter's include lead, sapphire, and crystal. Mars's include red brass and bloodstone. The Sun's stones are gold and ruby. Venus is associated with lapis azure and pearl. Mercury's stones are emerald and tin. The Moon's are silver and marble. The planets are also represented by specific images from different traditions. Apollonius symbolizes the Sun as a woman in a carriage pulled by four horses. He depicts Venus as a woman holding an apple and a comb. Mercury is a young man holding a rod, while the Moon is a woman standing on two oxen. Saturn is a man standing on a mimbar (pulpit), Jupiter is a man sitting on an eagle, and Mars is a man wearing a helmet and shield.

  • Specific Talismans on Stones. To triumph over kings, carve the image of the Sun as a king sitting on a chair upon a segment of onyx. To be loved by all people, carve an image of a woman with an apple and a comb on a stone of malachite. To release prisoners, carve on crystallite the image of Mercury as a man with a rooster on his head and the legs of an eagle. To cure a scorpion bite, carve a scorpion on a bezoar stone when the Moon is in Scorpio. To live a long and healthy life, carve on turquoise the image of Saturn as a man with a sickle in his hand. To become rich and prestigious, carve on white onyx the image of Jupiter as a crowned man on a chair whose legs rest on four winged men. To dominate others, carve on a magnet the image of Mars as a man riding a lion, holding a sword and a human head.

  • The Phases of the Constellations. Each of the twelve constellations has three phases (or faces), each with a specific image and function. The first phase of Aries is for Mars, showing an image of a large, mad black man with an ax, denoting cruelty and aggression. The second phase of Taurus is for the Moon, showing a man with the body of a camel, indicating honor and destruction. The third phase of Gemini is for the Sun, showing a man with a bow, indicating fun and entertainment. This system continues through all thirty-six phases, each providing a specific celestial influence for the magician to harness.

  • The Indian Durayjanat. Indian philosophers relied on a system of durayjanat, where each 10-degree phase is related to one of the seven planets. Talismans for war are made in the first durayjan of Aries (for Mars). Talismans for rulers are made in the second durayjan of Aries (for the Sun). Talismans for reconciling men and women are made in the first durayjan of Taurus (for Venus). This system provides a complete framework for magical works, which practitioners believed could only be completed through truthful thinking and sound intention. The highest practitioners refined themselves through fasting and purification to attract heavenly powers, make miracles, and unite with the Ultimate Light. Their most extreme ritual involved preparing a man for forty days in sesame oil and then severing his head, which would then serve as a talking oracle, revealing secrets of the world. They also assigned colors to the phases of planets: the black phase for disease and killing, the white for happiness and love, the yellow for controlling animals, and the red for serious matters.

The absolute authority in this art is Abu Musa Jabir Ibn Hayyan Al-Sufi, who revived the art of equilibrium and authored numerous definitive works on talismans, images, and the effects of planets. Plato also wrote of the ugly, or miraculous, functions of images, such as walking on water, causing out-of-season rain, and covering long distances in no time, which are achieved by transfusing the spiritual forces of planets into static primordial matters, making them live and effective spirits.

Concise Summary Ghayat al-Hakim, or The Picatrix, is a comprehensive medieval grimoire of astrological and talismanic magic, outlining the philosophical principles of celestial influence and providing a vast, systematic catalog of practical instructions—including specific planetary positions, stones, images, and incantations—for creating magical effects.




Full Text.

SECTION 1: Translator's Preface

Picatrix, Translator's Preface

THE CHALLENGE OF TRANSLATING A MEDIEVAL ARABIC TEXT Translating an eleventh-century Arabic manuscript presents a daunting task. Arabic is a living language with numerous dialects, and understanding historical texts requires a deep knowledge of how word meanings have shifted based on the time, location, and the specific intent of the author, such as a theologian versus a common writer .

Ghayat Al-Hakim is especially complex because it is a metaphysical, philosophical, theological, and scientific work, with language that borrows meaning from all these disciplines.

THE PHILOSOPHY OF FAITHFUL TRANSLATION To properly translate a work, one must first understand its essence, treating it like poetry to uncover the author's true meaning . This required the translator to engage in a deep examination of astrology, even consulting with modern astrologers to grasp the concepts and terminology . The goal was to produce a faithful rendition that preserves the author's original style. Unlike modern concise writing, a single Arabic sentence in the text could be equivalent to an entire paragraph in English . This translation aims to capture both the author's basic intent and the rich, multi-layered philosophical depths of the work .

Concise Summary The translator outlines the difficulty of rendering a complex, multi-disciplinary 11th-century Arabic text on astrology into English, stressing that a deep understanding of the subject was essential to create a faithful translation that honors the author's original style and layered meaning.

Picatrix, Introduction

CONTEXT AND SIGNIFICANCE OF PICATRIX This work is the first English translation of

The Picatrix, known in classical Arabic as Ghayat Al-Hakim, and represents a major contribution to Hermetic literature. The Warburg Institute previously published scholarly editions in other languages but chose not to produce an English version, believing only Medievalists would be interested. However, a growing interest in Hermetic studies has made this English edition necessary. The medieval text consists of four books that compile information from 224 "ancient sages" into a practical system of Astrological, Talismanic, and Astral Magic .

AUTHORSHIP AND PHILOSOPHICAL ROOTS While attributed to Pseudo-al-Majriti, the exact authorship of the book remains unknown. The author's style is similar to that of the Ikhwan al-Safa (the Brethren of Purity), a group from the 10th and 11th centuries whose philosophy synthesized diverse sources, including Aristotle, Plato, Pythagoras, and traditions from the Greeks, Persians, Indians, and Arabs . Some passages in

Picatrix are taken directly from the Ikhwan's encyclopedia, the Rasa'il, suggesting the work is a key link between Western Hermeticism and the esoteric traditions of the Middle East .

HISTORICAL TRANSMISSION AND INFLUENCE The text's importance was first recognized by Alphonso the Wise in the thirteenth century, who commissioned a Spanish translation that ensured its transmission to the West . It subsequently passed through the hands of prominent figures such as Marsilio Ficino, Pico della Mirandola, and Henry Cornelius Agrippa. The book influenced the writer Rabelais, was cited by the Venetian Inquisition during the arrest of Casanova, and may have even shaped the Rosicrucian text

Fama Fraternataties . The work unites a complex system of Arabic astrology with talismanic magic and alchemy, aiming to provide a path to mastery of the Royal Art .

Concise Summary The Picatrix is a significant medieval grimoire of astrological and talismanic magic compiled from ancient sources and linked to the Brethren of Purity; it was transmitted to the West in the 13th century, where it influenced key figures of the Renaissance and Western esoteric traditions.

Picatrix, Prologue

DEDICATION AND PURPOSE The author begins with a praise to Allah, the creator who dispels the darkness of ignorance, and offers a blessing to the Prophet Muhammad and his family . He explains that this book, titled

The Goal of The Wise, was written between the years 343 and 348, following his previous work, The Rank of The Wise . He was motivated by a widespread popular interest in talismans and magic among people who lacked a proper understanding of the subject they were pursuing.

THE CONCEALED KNOWLEDGE OF PHILOSOPHERS The author states that ancient philosophers intentionally concealed this powerful knowledge, veiling it in indecipherable symbols to prevent the destruction it could cause in the world. They built temples with symbolic sculptures and wrote secret-filled books that could only be understood by other philosophers . The author's stated goal is to illuminate this "darkened path" and reveal the secrets that the philosophers have hidden regarding this magical art.

STRUCTURE OF THE WORK The text is divided into four books. The First Book contains seven chapters, corresponding to the seven fast planets, and covers the virtue of wisdom, the astrological ratios used in making talismans, and the vague meanings concealed by philosophers . The Second Book explains astrological pictures and their secret functions, as well as how to borrow magical power from the "world of formation and dissolution" . The Third Book discusses the fortunes of the planets as they relate to the three generative origins (animal, plant, mineral) and the use of incenses and special foods to achieve magical effects. The Fourth Book details the magical practices of the Kurds, Nabateans, and Abyssinians, with the author promising to reveal this knowledge completely, without withholding or concealing anything .

Concise Summary The author wrote The Goal of The Wise to reveal the secrets of talismanic magic, which ancient philosophers deliberately concealed in symbols to prevent its misuse, and he structures the book into four parts to systematically explain these powerful and hidden arts.


Picatrix, Book I, Chapter 1: The Virtue of Wisdom

THE NATURE OF TRUE WISDOM Wisdom is among the most virtuous of all talents and is defined as the knowledge of the sublime and obvious reasons for why beings exist . All of existence ascends in order to the One Being, who is the first reality, the cause of all other beings, and the original Truth from which all other truths are assigned . This One Being is self-sufficient, not a physical body, and is fundamentally different from all other things . True wisdom is the understanding of this reality and the entire hierarchy of cause and effect, knowing which beings are first (causes without a cause above them), middle (having causes and being causes), and last (having causes but not being causes themselves) .

THE PURPOSE AND EFFECT OF WISDOM The pursuit of wisdom is both an obligation and a virtue that illuminates the mind and soul with a splendid, everlasting light, causing one to pay little attention to the mortal world . It motivates the soul to ascend from its earthly origin to the higher, distinguished world, where Allah reveals the ultimate reason for creation: for beings to know and worship Him . Wisdom possesses three key characteristics: it grows continuously and never vanishes; it chastises and disciplines; and it will only approach those who are genuinely interested in it.

WISDOM, LOGIC, AND KNOWLEDGE The ultimate "conclusion" that this book seeks to reveal can only be reached through wisdom. This conclusion's relationship to wisdom is like the relationship of a deduction to an analogy within the field of logic. To obtain this knowledge, one must be well-versed in all the arts of wisdom, which include religious sciences like revelation and jurisprudence, natural sciences concerning the celestial and the universe, theological sciences about the self and the Creator, and the arts of logic and analysis.

Concise Summary True wisdom is the knowledge of the One Being who is the ultimate cause of all existence; seeking this wisdom enlightens the soul and is the necessary foundation for understanding logic, the sciences, and the ultimate "conclusion" this book will reveal.

Picatrix, Book I, Chapter 2: The Essence of Magic

DEFINING MAGIC AND TALISMANS The conclusion that the book aims to reveal is what is known as magic. Magic is defined as anything that fascinates minds and attracts souls through words or deeds, but whose causes are veiled from the average person because it is a divine force connected to advanced principles . Magic itself is a spirit within a spirit, based on analysis and imagination. A talisman, its key instrument, is a spirit within a body. The Arabic word for talisman,

talsam, when reversed becomes maslat, meaning domination or control, which reflects its function: to overpower and coerce reality for a specific purpose .

THE MECHANISM OF TALISMANS AND ALCHEMY A talisman functions by using numerical ratios and placing astrological secrets into certain physical bodies at precisely the right time. Its power is brought forth by using incenses that are capable of releasing the talisman's spirit. This process is compared to that of an elixir in alchemy, which is described as a "coercing yeast" that transforms a substance into its own essence, changing it from a lower state to a higher, more perfect quality . To philosophers, a talisman acts like this yeast, which is composed of the four elements and has the power to reverse things to its own image.

THE BRANCHES OF MAGIC AND REQUIRED KNOWLEDGE Magic is divided into two primary branches: theoretical and practical. Theoretical magic is the science of knowing the positions of fixed and orbiting planets, how they cast their light, and the astrological ratios needed to create effective talismans . The most powerful part of this scientific magic is speech, as exemplified by Plato's saying that nice words can turn an enemy into a friend . Practical magic deals with the three generative origins of nature (animal, plant, mineral) and uses the forces they emanate, often through incense or specially prepared food, to achieve a result . The ancient Greeks understood that this science was impossible to practice without a thorough knowledge of astrology, including the twelve signs, the seven planets, the two nodes, and the principles governing the behavior of stars .

Concise Summary Magic is a divine force that fascinates the mind, with its chief instrument being the talisman—a spirit-infused body that coerces reality through astrological ratios; it is divided into a theoretical (astrology-based) branch and a practical (nature-based) branch, both requiring deep astrological knowledge to practice.

Picatrix, Book I, Chapter 3: The Essence and Reality of Astrology

THE NATURE OF THE CELESTIAL SPHERE The foundation of astrology is the celestial sphere, which is a perfect, physical, circular ball, a shape it holds because the circle is the first and most perfect form, made of a single line . The division of this sphere into 360 degrees is a man-made technique used to learn about its state and essence . The sphere contains the entire world, with no space beyond it, and its constant motion emanates heat that was instrumental in bringing the world into existence. At the center of this sphere is a point representing the world, where the beams of the planets are cast; this casting of influence is the fundamental principle behind talismans .

THEORIES ON THE SPHERE'S FUNCTION Ancient thinkers held different views on the sphere's function. Some believed its primary utility was demonstrated through the planets and the heat they generate, with the images in the sky merely resembling planetary positions. Others held a more profound view, believing that the pictures formed by the stars within the sphere's angles are the very heart of astrology and the ultimate cause of all beings on Earth.

THE MECHANISM OF PLANETARY INFLUENCE The influence of the heavens functions in a specific way: when a section of the sky (an angle) containing a fixed star aligns with an orbiting planet that moves into that same point, the specific influence of that orbiting planet is cast upon the Earth. Each planet moves a particular quality: Saturn moves cold and dryness, Mars moves heat and dryness, Jupiter moves heat and humidity, and so on. This influence can be amplified; for example, if an angle's function is to move heat, and the Sun (the source of heat) is located there, the growth of that quality will be much faster . Ancient philosophers considered this a difficult subject and deliberately veiled its meaning in vague language to conceal it from the uninitiated .

Concise Summary Astrology is based on the concept of a perfect celestial sphere whose 360 degrees are a human construct for understanding its essence; planetary influence occurs when orbiting planets align with fixed planets in these degrees, casting their specific properties—like heat, cold, and dryness—onto the Earth.

Picatrix, Book I, Chapter 4: The Use of Astrological Ratios in Making Talismans

THE FOUNDATION OF TALISMANIC MAGIC To create effective talismans, one must understand the direct astrological ratios that govern planetary functions. The maker of a talisman must be knowledgeable, confident, and utterly free of doubt to successfully channel the power of the "speaking soul" and achieve the intended result. A critical principle is to begin any magical work only when the Moon is in the specific astrological degree that produces the desired function .

THE 28 LUNAR MANSIONS AND THEIR USES The author details the 28 houses, or mansions, of the Moon, each corresponding to a specific set of magical operations. For instance, the first house, Al-Sharatain, is favorable for starting journeys, using laxative medicines, or creating discord between people . The second house, Al-Botein, is used for digging wells, finding buried treasure, or sabotaging a marriage before its consummation . The text proceeds through all 28 mansions, providing a list of appropriate functions for each, such as promoting trade, ensuring safe travel, releasing prisoners, corrupting cities, reconciling lovers, and strengthening buildings . A fundamental rule is that for good deeds, the Moon must be fortunate and free from "burning" (being too close to the Sun), whereas for evil deeds, a burning Moon is preferred .

ESSENTIAL ASTROLOGICAL CONSIDERATIONS For a talisman to work, the physical substance it is made from must have a "preparedness" to accept the magical influence, much like wax is prepared to accept the imprint of a seal . The timing of the work is also crucial. For daytime operations, the Sun should be in the ascendant, and the ascendant should be a daytime constellation. For nighttime work, the Moon should be in a nighttime constellation. The ease of the operation depends on whether the ascendant constellation is "straight-ascending" (smooth progress) or "curved-ascending" (difficult progress), and whether good-luck or bad-luck planets are aspecting it . When making talismans for good, the practitioner must avoid the Moon's eclipse and its proximity to any unfortunate celestial bodies .

Concise Summary The art of making talismans relies on precise astrological ratios determined primarily by the Moon's position in one of its 28 mansions, each suited for specific magical purposes; success also demands the maker's absolute confidence and careful timing based on the ascendant, planetary aspects, and the Moon's overall condition.

Picatrix, Book I, Chapter 5: Examples of Required Astrology Ratios to Make Talismans for Certain Functions

TALISMANS FOR LOVE, ENMITY, AND DESTRUCTION The chapter provides specific recipes for constructing talismans. To bring two lovers together for a long-lasting relationship, a talisman should be made in the hour of Jupiter (4) when Venus (9) and the Dragon's Head are in a favorable aspect to the ascendant . To destroy an enemy and drive him away, a talisman is made in the hour of Mars (σ) while the Moon is in Scorpio, and astrological misfortune is directed at the ascendant and its ruling planet . A similar method is used to destroy a city, but the talisman is buried in the city's center .

TALISMANS FOR PROSPERITY, STATUS, AND RELATIONSHIPS To increase wealth and improve trade, a picture is created after bringing good luck to the ascendant, the tenth house (career), and the second house (wealth) . To obtain a distinguished position or gain a ruler's favor, the rulers of the ascendant and the tenth house should be connected by a friendly aspect, such as a trine or sextile. Specific instructions are also given for creating talismans to help a slave gain a master's sympathy, to enable or prevent a marriage, to free a captive, and to make a populace support its governor .

TALISMANS FOR CONTROL, REPELLENTS, AND HEALING To expel a person from their hometown, a talisman is made while the ascendant is in a "moving" sign and buried in the "burning part of the way" . Other instructions detail how to make talismans for catching fish, repelling scorpions and flies, and curing scorpion bites . For a successful business, a picture of a man holding a scale is made on a yellow plate during the hour of Mercury (☿). To relieve the pain of kidney stones, an image of a lion playing with stones is carved on a golden plate in the hour of the Sun .

GENERAL PRINCIPLES AND MENTAL STATE A crucial condition for any talisman to succeed is that the maker must be completely absorbed in the work, with a clear and powerful intention so that their mental faculties can unite with the spiritual powers of the planets . The practitioner should work in isolation and speak words aloud that reinforce the talisman's purpose . For love, one might say, "I hereby unite so-and-so with so-and-so... in the same manner fire and air... are united". For enmity, one would say, "I hereby sever the relationships between them...". The essence of the art is to observe the stars at the correct time and appeal to them with appropriate words, incenses, and sacrifices to achieve the desired objective .

Concise Summary This chapter provides numerous practical recipes for creating talismans for specific outcomes—such as love, destruction, wealth, and healing—detailing the required planetary hours, astrological alignments, and the critical importance of the maker's focused intention and reinforcing spoken words.

Picatrix, Book I, Chapter 6: The Importance of Mankind is Comparable to That of the Universe

MAN AS A MICROCOSM A person who fails to reflect on their own being as a microcosm, or small-scale model of the larger world, is not considered fully human. Humanity is a complete entity, distinguished from animals by speech, which enables the creation of talismans, the remembrance of the absent through thought, and the perception of the unseen . Humans possess a divine power, invent fine arts, and act as a treasurer for God's wisdom, serving as the guidance for the larger world itself.

CORRESPONDENCES BETWEEN MAN AND THE COSMOS The human body is a direct map of the cosmos. The round head resembles the celestial sphere, the eyes are like the Sun and Moon, the nostrils are like the winds, and the ears are like the East and West . The body contains seven abdominal organs corresponding to the seven moving planets; 24 vertebrae for the 24 hours of the day and night; 28 joints for the 28 lunar mansions; and 365 arteries and veins for the days of the year . Furthermore, the body has twelve openings that correspond to the twelve constellations. Man also has seven inner spiritual forces (e.g., the puller, the digester) and seven sensory forces (seeing, hearing, etc.) that mirror the seven planets, creating a complete parallel between the human form and the celestial order .

THE DUAL NATURE OF HUMANITY Man exists in two states: as a partial, tangible, and perishable being, and as a whole, reasonable being who is part of permanent existence . The physical body is merely a shell for the inner, mental, and spiritual human, who is simple, primordial, and everlasting in the higher world . There is a nested hierarchy of being: the body is a shell for the partial human, who is a shell for the whole human, who is a shell for the whole spirit, who is a shell for the mind, which is itself a shell for the primordial light from which it evolved .

THE PATH TO TRUE KNOWLEDGE To truly grasp this knowledge, a person must be virtuous and pure in both mind and body. This understanding of man as a microcosm is the core principle of the science of talismans. Great philosophers like Plato deliberately made this knowledge vague and ambiguous to protect it from the uninformed, ensuring that its secrets could only be unlocked through deep reflection, deliberation, and thorough examination .

Concise Summary Humanity is a microcosm of the universe, with the body and its functions directly corresponding to the planets, constellations, and cosmic cycles; this dual nature—part perishable body, part eternal spirit—is the foundational principle of talismanic science, a concealed knowledge that requires virtue and deep reflection to understand.

Picatrix, Book I, Chapter 7: The Vague Meaning of Being Has Been Concealed by Philosophers

THE HIERARCHY OF BEING All of existence is structured into a hierarchy of ranks. The highest and most perfect is the High Being of creation. From there, the ranks descend through the mind, the spirit, the primordial, the orbit of nature, and finally to the lowest point, the orbit of the Moon . After reaching this nadir, the order begins to ascend again. It moves up through common matter, then the Elements (which interact within that matter), then metals, then plants, and culminates in speaking animals, or humans . Humans represent the highest of the ascending ranks because they possess wisdom and act with free will, not by force.

THE ORDER OF EVOLUTION A more detailed sequence of this order is presented as a chain of increasing specificity: principle is more general than element, which is more general than Elemental (an element that has accepted a quality) . The Elemental is more general than the primordial, which is the collection of Elementals that can accept an image (e.g., primordial wood accepting the image of a chair) . When the primordial accepts motion and force, it becomes nature; when it combines with color and spirit, it becomes a body . This chain continues from the general category of "body" down to "the growing," then "the animal," "the human being," "the man," and finally to the specific, known individual .

THE NATURE OF THE PRIMORDIAL The primordial is defined as the collective agreement of the Elements to accept an image or form. It exists in two types. The first is a "personal primordial," which is composed of the four complex Elements (earth, water, fire, air) and can only accept one form without transforming. The second is a "whole primordial," which is composed of the simple Elements (heat, coolness, dryness, wetness) and can accept all possible images. Aristotle is cited as defining the primordial as a force that is receptive to various images and as a body that influences all other entities . Grasping these concepts is to understand spiritual talismans and the "words of inspiration" known only to the truly knowledgeable.

Concise Summary All of existence is ordered in a descending and then ascending hierarchy of being, from the Creator down to the Moon and back up to humanity; this philosophical progression, from general principles to specific individuals, is a key to understanding the spiritual nature of talismans as concealed by the wise.


Picatrix, Book II, Chapter 1: How This Knowledge Can Be Obtained

THE SPARK OF INQUIRY The author's journey into the secrets of talismans began in his youth, sparked by a statement from Ptolemy's book, The Fruit: "the images in the world of creation are obedient to the celestial images." This led him to understand that ancient philosophers created talismans by drawing specific images at moments when planets reached their celestial houses, thereby channeling their natural forces to achieve planned effects .

A PRACTICAL EXPERIMENT The author recounts a story he read about a Roman philosopher in Egypt who witnessed a boy being cured of a scorpion bite. The cure was a tablet, stamped from a golden ring with a Bezoar stone, that bore the image of a scorpion . The ring had been made at a precise astrological time: when the Moon entered the constellation of Scorpio, while Scorpio was in one of the poles of the ascendant. Intrigued by this account, the author, being skilled at carving, decided to replicate the talisman under the same specified conditions. After several trials, he discovered its miraculous effects, which amazed all who witnessed them. This successful experiment was the primary motivation for his dedicated research into this sensory science .

THE NECESSARY FOUNDATION OF KNOWLEDGE The author asserts that a true understanding of how the higher world influences the lower is impossible without a comprehensive knowledge of the three branches of philosophy: mathematical, physical, and metaphysical arts. The mathematical arts, including numbers and geometry, are essential for learning the movements and measurements of celestial bodies. Knowledge of the physical arts (nature) is required to recognize the causes of creation and decay, and to accept that higher bodies affect lower ones. Finally, the metaphysical arts are needed to discern which earthly beings are the effects of which celestial beings. The author states that these prerequisites are available only to true philosophers, and without them, one cannot achieve the real goal of this art .

Concise Summary Inspired by Ptolemy and a historical account of a miraculous scorpion-bite cure, the author successfully replicated a talisman, which motivated him to pursue the science of celestial influence; he asserts that true mastery of this art is impossible without a comprehensive knowledge of mathematical, physical, and metaphysical philosophy.

Picatrix, Book II, Chapter 2: The Constellation Figures and the Function of Their Symbols in the Motion of Planets

THE TWO TYPES OF CELESTIAL IMAGES The subject of celestial images is difficult because its practitioners have intentionally concealed it. There are two main types of these images. The first consists of the 48 traditional constellation figures drawn in the sky using fixed stars as reference points, such as Canis, Ursa, and Lyra. These images move very slowly, taking thousands of years to shift from one constellation to another .

THE INDIAN INTERPRETATION OF DEGREE-IMAGES The second type of image is the symbolic and "delusive" imagery described by the Indians for each of the three "faces" or decans (10-degree sections) of a zodiac sign. For example, the first decan of Aries is described as "a big, intrepid, proud man with red eyes." The author explains that every detail of this image is an allegory for astrological influences: the red eyes and intrepidity are associated with Mars, the ruler of that decan, while a white garment symbolizes the honor of the Sun, which is exalted in Aries . This symbolic method provides a key to understanding the meanings encoded within all such decan-figures.

THE SYMBOLIC LANGUAGE OF ASTROLOGY Ancient philosophers used the shapes of constellations and other celestial phenomena as a symbolic language to describe their actions and effects. A "detached head that talks" or a "paralyzed hand" are not literal descriptions but symbols for specific magical effects, and this forms the foundation of talismanic art . Hermes taught that every star has a unique action in each of the 360 degrees of the zodiac. The author calculates that the various possible conjunctions of the seven planets across these degrees create over 10,000 unique images, each producing its own miraculous actions and effects. He concludes by warning that this knowledge is a great secret and should be withheld from anyone not worthy of it.

Concise Summary The constellations contain two types of images: the 48 classical figures and the symbolic, degree-specific figures described by the Indians, whose details are allegorical representations of planetary influences; this symbolic language forms the basis of talismanic magic, which harnesses the unique power of thousands of possible planetary conjunctions.

Picatrix, Book II, Chapter 3: The Effect of the High Planets and the Bad Omen of the Sun and the Moon

THE CENTRAL ROLE OF THE SUN AND MOON Some believe that planetary action is merely a change in temperature, with all effects produced primarily by the Sun and the Moon, while other planets only serve to strengthen their actions . The condition of the Moon is thought to determine the fate of all born children and its effects upon the world. The Moon's influence changes with its phases: from new to the first quarter, it increases moisture; as a full moon, it moves heat and humidity equally, greatly benefiting life on Earth; from full to the last quarter, it moves less humidity and more heat; and in its final quarter, it brings cold and dryness .

THE POWER OF THE CONJUNCTION Among the ancient generations, there is a consensus that the Moon's most powerful and effective phase is the conjunction, the precise moment it meets with the Sun (the new moon) . At this point, the Moon rejoices "like a traveler... back to his home" and is capable of producing actions similar to those of the Sun. However, the author clarifies that the Moon does not originate these actions; rather, it acts as a lens, exposing and illuminating the effects that are solely produced by the Sun, bringing them out of concealment into manifestation .

THE MOON AS THE KEY TO ALL ACTIONS All events on Earth, from their beginning to their end, mirror the phases of the Moon in its relationship with the Sun. Consequently, it is an absolute necessity to examine the Moon's position before undertaking any action. The success and soundness of any endeavor depend on the Moon's condition: its safety from misfortune (

an-nuhus), its speed of movement, and its freedom from the "burning way" (being too close to the Sun). A favorable start to an action requires the Moon to be well-aspected, moving in a straight path, and clear of negative influences like the Dragon's Tail. The Moon is the single most important planet in managing the entire world of being and corruption.

Concise Summary The Sun is the ultimate source of all actions, but the Moon's phases govern how these actions manifest on Earth, making the Moon the single most important factor to consider in all magical undertakings; its position, phase, and freedom from astrological misfortune determine the success or failure of any action.

Picatrix, Book II, Chapter 4: The Motion of The Stars (Planets)

THE PRECESSION OF THE EQUINOXES Ancient talisman-makers held a knowledge that was overlooked by many later astrologers: the slow, long-term movement of the stars known as the precession of the equinoxes. They understood this as an "incoming and outgoing" movement of eight parts (degrees) in each quarter of the celestial sphere . The author provides a complex historical calculation, based on the reigns of King Augustus and Diocletian, to determine the timing and position of this cycle .

A CONCEALED SECRET This knowledge of stellar precession is described as the "backbone in making talismans for the purpose of producing images" and the "greatest concealed secret" of the art . The ancients believed that this movement of eight degrees completed its cycle once every 360 years. The beginning of an "incoming" or "outgoing" phase of this cycle was a key indicator of the major events that would take place in the world. This movement pertains to the entire band of constellations (the zodiac), not to the individual paths of the planets.

Concise Summary Ancient talisman-makers possessed a secret and essential knowledge of the slow, long-term movement of the stars (the precession of the equinoxes), which they calculated using historical timelines and considered the foundational "backbone" of their art for creating magical images.

Picatrix, Book II, Chapter 5: Distribution of This Science Among Nations

THE THREE TYPES OF MAGICAL ARTS According to the sage Hermes, the art of miracles is divided into three types, each specialized among different nations. The first is the art of talismans, which involves planetary sacrifices and drawings, and was primarily practiced by the Sabians and Nabateans. The second is the advanced art of the stars, which was the specialty of the Greeks. The third involves working with inspirations and spirits, a field mastered by the Indians, the Sakasiks of Yemen, and the Copts of Egypt .

THE KNOWLEDGE OF THE INDIANS The Indians are described as being advanced in many strange and secret arts. They possess knowledge of poisons and can kill or influence a person's mind with mere words or movements . Their secrets include the ability to impregnate a woman without physical contact and to create a drink that prevents the effects of aging . They believe in a hidden world of djinn and demons whose celestial guides are Saturn and the Dragon's Tail. Their magicians utilize celestial images that are not visible on Earth, drawing them in special arrangements called "rings" for use in their ceremonies .

THE NATURE OF DREAMS AND PROPHECY The Indians hold that true dreams are a result of the mind's connection to the celestial world. The clarity of a dream depends on the balance between the "perfect mind," which perceives reality as it is, and the "force of imagination," which perceives things through symbols and meaning . Prophecy is an extension of this, derived from an ideal imagining force that can perceive events like looking in a mirror. When a person perfects the ability to receive revelation from the First Creator and becomes aware of both particulars and mental perceptions, they become a prophet, which is the highest and happiest rank of mankind .

THE PATH TO HAPPINESS The ultimate goal of all these virtues and arts is to attain happiness. This true happiness is defined as an everlasting life, a pleasure unblemished by sorrow, a knowledge free of error, and a wealth untouched by poverty. Indian magicians also claim that spirits can appear to them in person to teach them, solve problems, or endear them to kings .

Concise Summary Hermes categorized magic into three types practiced by different nations, with the Indians possessing advanced knowledge of spirits, poisons, and the nature of dreams and prophecy; their ultimate goal, achieved through these arts, is the attainment of true happiness, defined as an everlasting life of pure knowledge and pleasure.

Picatrix, Book II, Chapter 6: The Characteristics and Contributions of Planets and How They Adapt to Their Functions

THE PRINCIPLE OF CONTRIBUTION AND ACCEPTANCE Any natural action can be increased or decreased, and its effect becomes stronger when it is specialized for a particular function, like a medicine for a specific disease. Talismans operate on a similar but more profound principle: the "contribution" of a planet's power and the "acceptance" of that power by the talisman's physical material. To create a successful talisman, one must craft it with a symbol and image that signifies acceptance, allowing the planetary contribution to be given with full consent. This ensures the talisman's effect will be lasting and its spirit will be expansive .

FORMATION IN NATURE AS A MODEL FOR MAGIC The processes of creation in the natural world serve as a model for magical works. In nature, components must first be prepared to accept a new form, such as when food is made into starch before it can become sweets, or milk is transformed into cheese . When a substance accepts a new image, its old form vanishes, and it gains a new capacity for "acceptance," allowing for further transformation. A talisman-maker's objective is to make a material willing to accept a specific magical image, just as certain natural substances are known to repel snakes or attract hornets.

THE DUAL AND RELATIVE FUNCTIONS OF PLANETS Just as fire can be used to either perfectly heat honey or burn it, a single planet can produce different effects. Planets have two primary functions: their subjective motion and the heat that follows this motion. Their influence also changes based on their celestial position. When a planet is at its highest point (apogee), it takes on the function of the planet above it, performing elegant and refined actions. When it is at its lowest point (nadir), it takes on the function of the planet below it. This is a crucial and concealed secret in the science of talismans .

HIERARCHY AND INTERACTION OF PLANETARY EFFECTS A planet's influence is also related to its speed: slower planets produce stronger and more elegant effects, while faster ones have weaker effects . Because Saturn is the highest and slowest planet, its influence dominates that of any other planet it joins in a conjunction. However, beneficial planets like the Sun, Jupiter, or Venus can improve Saturn's actions when they are associated with it. The power dynamics are relative; if the Moon is in a powerful position while Saturn is in a weak one, the Moon's effect can be stronger. The ultimate source of all planetary action is the still, all-moving ethereal orbit, which is the cause of all other motion .

Concise Summary A talisman's effectiveness relies on the principle of "contribution and acceptance," where a prepared material accepts a planetary influence, a process modeled on creation in nature; the hierarchy, speed, and relative positions of the planets determine the strength and quality of this magical effect.


Picatrix, Book II, Chapter 7: The Position of Phrases in Talismans and the Direction of Inserting Them in Talismans

THE IMPORTANCE OF QUANTITY AND SIMILITUDE The concepts of similitude and difference are of crucial significance in making talismans. A functional relationship must exist between the action of the planets, the action of the stone used for the talisman, and the time and place of its creation. This relativity is a key fundamental of the art, as is the concept of quantity, which is divided into two types: connected and separate.

CONNECTED QUANTITY: LINE, PLANE, TIME, AND PLACE The five subdivisions of connected quantity are essential to talismanic magic. The

line refers to the straight, unobstructed azimuth between the planet and the talisman, and between the talisman and its target, which allows the planet's contribution to be complete . The

plane is the form of this contribution, representing the diffusion of the talisman's effect through the air .

Time is critical for observing planets to know when their contribution is complete, when they are in specific configurations (like a trine or square), and when they are in positions of strength or weakness .

Place is also vital, referring to the location where the talisman is made, where its substance is derived from, and where it is set up (e.g., exposed or hidden) .

SEPARATE QUANTITY AND QUALITY The two subdivisions of separate quantity are statements and numbers.

Statements (words) and signs are used in various magical operations, while numbers are especially needed because they pertain to time and the rotation of planets . Beyond quantity,

quality is the real cause of a talisman's power. The location where the talisman is placed must be similar in quality to the contributing planets and must be able to accept their effects for the desired results to be produced. This is why a specific type of rock is chosen for a talisman; its inherent nature and quality must be similar to the planetary action being sought . The goal in every action is to seek similitude and avoid contrariness.

Concise Summary The creation of effective talismans requires a deep understanding of quantity and quality; this includes aligning the planet, talisman, and target along a straight line, choosing the correct time and place, using numbers and words, and ensuring the physical material's quality is similar to the desired planetary influence.

Picatrix, Book II, Chapter 8: The Order of Natural Matters and Their Supplements

THE HIERARCHY OF COMBINATION Ancient philosophers developed the idea of combining different ranks of natural bodies to discover the benefits of medicines and their effects . They established a hierarchy of composition. The most basic elements are the qualities of heat, coldness, moisture, and dryness. The first level of combination is when a matter acquires one of these qualities (e.g., becoming "hot"). The second level combines two qualities (e.g., "hot and dry"). The third level of combination produces the four familiar elements: fire (hot and dry), air (hot and moist), water (cold and moist), and earth (cold and dry) .

FURTHER LEVELS OF COMPOSITION Beyond the four elements, there are further levels of combination specific to different realms. For climate, the fourth level produces the four seasons. For people and animals, it produces the four humors: gall, blood, bile, and phlegm . The elements making up mankind are kinder and less dense than those of animals. The basic elements of plants are fats, dyes, seeds, and roots, which are similar to the kind elements of mankind, while the elements of rocks are comparable to the dense elements of animals . The final stage of combining is the "seven-degree compounds," which includes complex things like finished medicines and buildings .

THE PRIMORDIAL FORCES OF HEAT AND COLD Heat and coldness are the primordial natural elements that come before fire and earth. Heat is the product of the constant motion of the celestial bodies in their orbits. Coldness is the product of the center—the Earth—which is still . These two forces have opposite functions: heat combines similar things and disperses opposites, while coldness combines opposite things and disperses similars. This fundamental opposition and contradiction is what allows the world to exist in a balanced state .

Concise Summary Ancient philosophers understood nature as a hierarchy of combinations, starting from the simple qualities of heat and cold and building up to the four elements, the four seasons, the four humors, and finally to complex things like medicines; this entire system is governed by the primordial opposition between celestial heat (motion) and earthly cold (stillness).

SECTION 19: Book II, Chapter 9: Picture Examples of fixed Planet Configurations

Picatrix, Book II, Chapter 9: Picture Examples of fixed Planet Configurations

SYMBOLS FOR REPELLING PESTS This chapter provides specific symbols, derived from fixed planet groupings, for use in talismans. To repel mice, a specific symbol is drawn on a red tin plate when the first phase of the constellation Leo is rising. The plate is then placed in the location of the mice, and they will flee . To repel mosquitoes, another symbol is drawn on a sulfur stone at the rise of the second phase of Taurus. Mosquitoes will not go near the location where the stone is placed . For repelling flies, a third symbol is drawn on a tin plate during the rise of the third phase of Scorpio.

SYMBOLS FOR INFLUENCING HUMAN RELATIONSHIPS AND LOCATIONS To create enmity and separation between two people, a specific symbol is drawn on a black tin plate on the day and hour of Saturn, while the ascendant is in the third phase of Gemini with Saturn in it. When placed in their meeting spot, they will separate on the worst possible terms . For a peculiar talisman to make a loved one come in a hurry, a different symbol is drawn on new cloth on the day and hour of Venus, while the ascendant is the second phase of Libra with Venus in it. When the cloth is burned, the person will come quickly . Another symbol, drawn with a pig's tusk on a tin plate on the day and hour of Saturn, is used to vacate a location and prevent its development, afflicting it with Saturn's catastrophic influence .

Concise Summary This chapter offers a short list of specific magical symbols derived from fixed planet configurations, providing practical instructions for creating talismans to repel mice, mosquitoes, and flies, as well as to create enmity between people or make a location uninhabitable.

Picatrix, Book II, Chapter 10: Planets' Stones and Picture Drawings

STONES AND SYMBOLS OF THE SEVEN PLANETS The author lists the stones associated with each of the seven planets. For example,

Saturn's stones include iron, diamond, onyx, and turquoise.

Jupiter's include lead, sapphire, and crystal.

Mars is associated with red brass, blood stone, and magnet. The

Sun corresponds to gold, arsenic, and ruby.

Venus governs lapis azure, pearl, and coral.

Mercury's stones include emerald, mercury, and marble. The

Moon is linked to silver, small pearls, and lapis azure. The author also provides the drawn symbols for each planet as designated by ancient philosophers.

PLANETARY IMAGES FROM VARIOUS SOURCES Different authorities described the images of the planets in unique ways. For the

Sun, Apollonius described a woman in a carriage pulled by four horses, while other sources describe a king on a chair with a crow and a dragon. For

Venus, one image is of a woman with an apple and a comb, while another is a naked woman followed by a child.

Mercury is variously depicted as a young man with a beard holding a rod, a man with a rooster on his head and eagle's legs, or a crowned man riding a peacock . Similar multiple descriptions are given for the Moon, Saturn, Jupiter, and Mars.

SPECIFIC TALISMANS USING STONES AND IMAGES The chapter provides numerous recipes for creating specific talismans by carving these images onto their associated stones at the correct astrological time. For example, carving the Sun's image as a king on onyx will grant victory over other kings . Carving an image of a fly on a specific stone in the hour of the Sun can protect the holder from being burned by fire. For Venus, carving a woman with an apple on malachite will make the holder happy and in a good mood . For Mercury, carving a frog on an emerald ensures no one can harm you or speak badly of you . For the Moon, an image of a scorpion carved on bezoar and stamped on kundur gum will cure a scorpion bite . For Saturn, an image carved on turquoise is said to grant long life and good health. For Jupiter, an image of a man on a chair on white onyx will make the wearer rich and prestigious . For Mars, carving a man riding a lion on a magnet gives the holder courage and power .

Concise Summary Each of the seven planets is associated with specific stones, symbols, and descriptive images from different philosophical traditions; this chapter provides numerous practical instructions for carving these images onto the correct stones at the right astrological time to create powerful talismans for a wide range of purposes, from gaining a king's favor to repelling pests.

Picatrix, Book II, Chapter 11: The Front View of Constellations and Their Functions

THE NATURE OF THE ART AND THE ARTIST The author states that to avoid making the book too long, he will only include what is essential, leaving the rest for the researcher to think through for themselves. He advises that this art should not be disclosed to others and is best enjoyed by those who do not make a living from it, but rather reflect on it to become distinguished . The spiritual arts were achieved by the wise only through hard work and sharp intellect, which allows one to find the right conclusion among various contradicting views. Intelligence is the result of the mind's ability to perceive things swiftly and efficiently, like fire acting quickly or the Sun penetrating the air .

THE THREE PHASES (DECANS) OF THE ZODIAC Each of the twelve constellations is divided into three phases, or decans. Each decan has its own associated images, statues, and characteristics, which are divided among the planets . These decans concur with their ruling planets in their actions and essence. The chapter then provides a detailed list of the images that appear in each of the 36 decans of the zodiac.

  • Aries: The first decan (Mars) shows a large black man with an ax, a phase of cruelty and aggression. The second decan (Sun) shows a woman probing for dresses and jewelry. The third decan (Venus) shows an angry, reddish man who is skillful in iron fabrication .

  • Taurus: The first decan (Mercury) shows a woman with curly hair, a phase of planting and cultivation. The second (Moon) shows a man with the body of a camel, a phase of honor and destruction. The third (Saturn) shows a red man with the body of an elephant, a phase of humiliation and servitude .

  • Gemini: The first decan (Jupiter) shows a beautiful woman skilled in dressmaking, a phase of knowledge and accountability. The second (Mars) shows a man with the face of a griffin, a phase of violence and unprofitable haste. The third (Sun) shows a man with a bow and arrow, indicating fun and entertainment .

    (This detailed listing continues for all twelve zodiac signs: Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius, and Pisces, each with three decans and their associated images and meanings).

INTERPRETING THE IMAGES A researcher must understand that these images are complex and their characteristics intermingle, just as water puts out fire, or fire removes the coldness from water. When many characteristics exist, the stronger will prevail. The author advises drawing the images of the decans on bodies that resemble the ruling planet of that phase to produce the desired effects and actions in the world of "being and corruption." The effect will be greater if the work is done in the hour of the ruling planet .

Concise Summary This chapter details the specific images and symbolic meanings associated with each of the 36 decans (10-degree faces) of the zodiac, explaining that these images, when drawn at the correct time on a suitable material, can be used to channel planetary energies and produce magical effects.

Picatrix, Book II, Chapter 12: Dragon Pictures, Their Functions and Influences

THE INDIAN SYSTEM OF DURAYJANAT The foundational works of Indian philosophers on talismans relied on the system of durayjanat. In this system, each zodiac sign is divided into three equal parts of 10 degrees, called a durayjan (decan or face), and each is related to one of the seven planets. The first

durayjan of a sign is ruled by the planet that rules the sign itself; the second is ruled by the planet of the next sign in the same element (trine); and the third is ruled by the planet of the final sign in that element .

TALISMANS OF THE DURAYJANAT The chapter provides a comprehensive list of talismans that can be made in each of the 36 durayjanat. For example, in the first durayjan of Aries (ruled by Mars), a talisman for war and triumph can be made. In the third

durayjan of Gemini (ruled by Saturn), one can make a talisman to spread negative commendations and disclose secrets. Talismans for love are made in the first

durayjan of Libra (Venus), while talismans to cause scorpions and insects to attack are made in the first durayjan of Scorpio (Mars). This list covers a wide variety of purposes, including controlling weather, ensuring safe travel, influencing rulers, promoting love, harming enemies, and managing livestock.

THE PHILOSOPHY OF INDIAN MAGIC Indian practitioners claim that these actions can only be completed with truthful thinking and a sound intention, as this is the only way to attract the force of the planets . Their Brahmans believe these forces are a kind creation of Allah, meant as a lesson and a source of mercy . To achieve the status of great law-makers and saints, they undergo a 40-day purification ritual starting in the hour of the Sun. They fast from meat, wash themselves daily in the hours of the Sun and Moon, and gradually reduce their food intake while taking special medicines. This process is said to develop their talents, detach them from earthly matters, and allow them to attract heavenly powers and perform miracles .

THE RITUAL OF THE TALKING HEAD The author describes a shocking ritual practiced by a generation of Indian clergy involving the creation of a talking head. A man is selected, placed in a basin of sesame oil up to his neck for 40 days, and fed only figs soaked in oil. At the end of the period, his head is pulled from his body, with the veins stretching and separating at the first vertebra. The head is then preserved with special incense and placed on an arch, after which it can answer questions about the future, advise the clergy on their worship, and reveal knowledge of arts and sciences .

Concise Summary Indian talismanic magic is founded on the system of durayjanat (decans), where specific operations are assigned to each 10-degree section of the zodiac; their philosophy requires intense purification to attract celestial forces, and includes extreme rituals such as the creation of a prophetic, disembodied head.

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