V. A Beautiful Palace



Servitors: Alogil, Liriol, Ragaras, Igilon, Sigis, Igarag, Haragil, Oroya (Oroia), Aril, Isagas

The Vision

All around me was the black of night, and from it a series of stars fell from the sky to form a dagger-shaped palace of starlight. It stood translucent until the sun rose in the East behind it, which made it shimmer with golden light and assume a more solid shape. Then Venus rose fast in the sky until it sat like a jewel on the crown of the palace’s peak. I walked towards the palace through the half-light of dawn, walking through a circular garden that bloomed with red roses at its borders.

Entering the palace, I found it to be bare, silent and dimly lit with the only light being that of the blue-grey of the early morning outside. I looked up to the tapering roof of the palace high above me to see the star of morning glowing bright there. Then I began to float towards it, gathering speed. Except I wasn’t floating at all, I realised, but growing in size so that my body began to fill the palace. When I stood fully grown, the light of the Morning Star sat upon my brow, where it emanated three equidistant beams of light into the sky around me. After this, I found myself growing again, getting larger and larger until I could see all of the world beneath me. Soon, the whole planet lay below me as I floated in space to look down upon its globe.

While in space, I looked directly at the sun as it sat distant in its black shroud and noticed it beginning to shimmer, as if it were in water. Then I discovered I was indeed looking at the sun’s reflection in a dark pool that lay back in the gardens of the palace. The light of the sun’s reflection grew brighter until the entire pool shone like liquid gold. A thought came to me to drink from the water, but I was warned from doing so by a sense that doing so would be perilous. Then a well at the edge of the pool drew my attention and I perceived that if I drew water from it, which would surely come from the same source, then I could drink it safely because wells were built to provide drinking water. I drew a wooden bucket from the well on the end of an old, brown rope and saw that the water it contained was ink black, thick and unpalatable. Thinking of purifying it, I took the bucket to the edge of the pool and scooped up a handful of golden water, which I poured into the bucket.

On doing this, the water in the bucket grew tumultuous, as if dark, violent storm clouds swelled within it. From the billowing clouds, white horses appeared which looked like those carved into the Trevi fountain in Rome. Behind the horses, however, was not Oceanus, but Apollo being drawn upon his chariot. The thought then came to me to pour the bucket into the golden pool to make it safe to drink from, but I was forbidden to do so by a foreboding sense of wrongness. Instead, prompted by the same urge, I covered myself with the hybridised water in the bucket with the sense that I could bathe in the golden waters if I did such a thing. After pouring it over myself, my skin shone with a golden film and I plunged into the pool. Rather than becoming deified by the water however, the water became polluted by the darkness I had brought into it. In such a state, the mixture of the pure solar pool and the turbulent sky-water represented the world as it was – a place of darkness and obscurity with enough light in its essence to absolve it from non-existence, but not enough to purify it entirely. Bathing in its waters, however, did seem to brighten the opaque folds that obfuscate the vision of the divine self in our day-to-day routines and experiences.

As the vision came to an end, I heard a voice describing the pool as ‘The Solar Fountain,’ followed by the words ‘his soul remembers,’ coming first as a song then as a spoken voice. The same voice then asked ‘do you play music like your dad used to?’ which made no immediate sense. Before completing the session a final flash came of a flag with a red triangle protruding sideways from the edge of the side where the pole would be threaded through from which four or five vertical red and yellow lines emanated.

For the first time, this vision appeared to be directly connected to one of the previous visions, with the clear glass palace that became solid with the light of the rising sun being the same as that which appeared in the vision of A Pumpkin. Its cited function in that vision—which was giving clear-sightedness—appeared to be fulfilled in the brightness of the Morning Star that adorned my brow and enabled me to experience a vision of the Divine Light and its obfuscation through the veils of the material senses.

Of the spirit names present in this Square, all except Oroya (spelled Oroia in the LBA manuscript) appear in the second square relating to A Beautiful Lawn, with Aril and Liriol also appearing in the fourth square relating to A Beautiful Garden. The name of Oroia was pertinent to the vision due to its origin in it the Ancient Greek word ὡραῖος, meaning ‘beautiful’ or ‘lovely.’ The name of the servant Alogil, who is a possible cognate of the Pseudomonarchia Daemonum’s Eligos and the Book of Offices’ Algor (due to his appearance in the second square of Chapter XXIX of the Abramelin’s fourth book, which makes armed soldiers appear), is apparent in the square’s central cross, while the words around its edge relate to the Hebrew עצרה (atsarah), meaning ‘assembly’ or its root עצר (atsar), meaning ‘restrain,’ ‘stop,’ ‘retain’ and ‘hinder.’ This appeared relevant to the vision due to the sense of foreboding that stopped me from performing certain actions when I was tempted to.

Of the remaining names present, I have tried to account for the meaning of the rest as follows:

• Ragaras – Hebrew רגע (raga’a), ‘break,’ ‘disturb.’ Mathers suggests a Coptic word denoting ‘to bow the head.’
• Igilon – Possibly from Ικελος (Ikelos), the name of a son of Nyx and Erebus, who was a Greek god of nightmares and often appeared in an animal or monstrous form.
• Sigis – Palindromic representation of the Hebrew סיג (sig), meaning ‘dross’ or ‘restriction.’
• Igarag – Possibly from Hebrew קרח (qarach), ‘frost,’ ‘ice,’ ‘cold,’ ‘crystal.’ This may account for the crystalline quality of the palace. Mathers suggests the Celtic carac, meaning ‘terrible,’ which is rather dubious.
• Isagas – Maybe from שאגה (shagah) meaning ‘roar,’ ‘shout,’ ‘yell.’ Mathers cites שגיאה (shagiah) meaning ‘error.’

IV. A Beautiful Garden


Servitors: Liriol, Mara, Sarasim, Aril, Amillis

The name forming the central cross of the square, LIRIL, relates to the name of the servitor Liriol and the Greek word λειριο, meaning ‘lily.’ The word around the outside of the square, SELAC, has its origins in the Hebrew שלח (shelakh), meaning ‘shoot,’ ‘branch,’ ‘sprout,’ ‘slough’ and ‘to send away.’

The Vision

I stood in the grounds of a park, with a great manor house visible in the distance. A large lawn lay before me which was surrounded by trees, but few flowers. Then I spotted a river off to one side of the lawn and approached it. In the middle of the river was a small island, upon which a beautiful garden grew. I decided to wade across the narrow river to visit the island, tearing a branch from a nearby tree to use as a staff to help me get across. As soon as I entered the waters, they grew turbulent, forcing me to swim over to the island even though they had seemed narrow and mild when I first encountered them.

On arriving on the garden island, I was only able to explore it for only a brief moments before I suddenly found myself far away from it, with no river or garden in sight and nothing but loose stones beneath my feet. Realising I had been transported far beyond the opposite bank of the river, I made my way back towards it on foot with the impression that I was heading south. When I came to the river again, the waters again seemed very narrow and shallow, but as soon as I entered them I realised they were horrendously deep and after only a few steps found I had to swim to the island. On arriving there this time, I found only a small, plain grove present there, then planted my staff into the ground in order to not be expelled from the island again. Two forks appeared at its end as I stabbed it into the soil, wedging it into the earth as I prepared for a struggle to remain on the island.

I sensed a shift in the world as the staff entered the earth and sent deep roots into the ground below and transformed into a great tree with a wide, thick canopy. I sought refuge under its boughs as I perceived that there were many malignant entities forming a circle around me. Night came in an instance as I sheltered beneath the eaves, with a gibbous moon peeking through the branches above. I cast a protective circle to keep the malign presences away and noticed how the waters of the river either side of the island grew turbulent again. It then dawned on me that I needed to keep myself in a still, silent state in order to make my environment serene. On doing this, the river grew gentle and the island began to bloom with flowers. All seemed calm now, with no other presences there but my own.

Then I noticed a woman appear, great in beauty and wearing a red robe. She peeled the robe from her body and revealed that she was not human at all, but a great snake. She slithered towards me and wrapped her body around my wrists, binding them tight. She spoke to me, though none of the words she spoke were familiar, being in a tongue so unusual that I was not able to even approximate their sounds, which were guttural and spoken with a harsh and loud voice. She seemed more human again as she spoke but had the presence of a vampire or of the spurned Lilith seeking to torment Adam in the days before Eve came to Eden. The garden we were in was no paradise however, but a silent, lonely place standing as a precarious bastion against the world’s perils. I focussed my mind on becoming more still and calm again and the garden flourished with florae as the balance resumed. Then I dropped into a deeper state of meditation, finding new passivity in the silence in which I heard a voice saying ‘the sacrifice has been commenced. Proceed and you will not know death.’ On those words, which did not seem obviously related to the vision, I meditated in silence for a few minutes before completing the session.

It was obvious throughout that the island garden, with its tree and snake, had taken on some of the qualities of Eden. There was no perfect state to fall from though, with its various fluxes and turmoils being connected to my own ability to still my mind and be receptive. When these peaceful states came, the garden appeared as a beautiful, serene place, but before long the peace was shattered by the coming of the serpent. Yet with its departure, I was left with the knowledge that the garden represented the illusory and impermanent nature of the sensory world, which is but a small, shifting island in the violent torrents of Being. This understanding, rather than any kind of ‘temptation,’ was the gift she gave. Although her words could not be made out, she brought a wisdom that was raw, direct Gnosis, rather than that of the intellectual faculties, which cannot adequately perceive the nature of reality of which the serpent spoke.

Throughout the vision, I could hear a female neighbour humming a strange, sombre tune, which fitted the slightly sorrowful feel of the vision rather well and didn’t distract me in the ways that noise disturbances often do. The end of her song coincided with the end of the session rather well too, accompanying the ‘active,’ visual parts but ending not long after the more meditative, ‘passive’ parts began.

After writing up the account of what I saw, I set about working out the names of the servitors present in the square, which it is always best to do after the event to prevent knowledge of the names’ meanings influencing the contents of the vision. This also allows one to determine how much objective, or at least synchronistic, reality there may be in the visions shown. Such was certainly the case in this vision, with the name of the spirit Sarasim coming from the Hebrew שרשים, which is the plural of שרש (sharash) meaning ‘a deep root,’ ‘origin,’ ‘source,’ or ‘basis.’ This was relevant due to the ‘deep roots’ the staff I held bore into the earth, with the branch that I crafted it from being directly related to the meaning of the word SELAC described above.

The name Mara also has some significance with its meaning coming from the Hebrew מערה (ma’arah) – ‘cave,’ ‘cavern,’ ‘grotto,’ ‘den’ and מער (ma’ar), meaning ‘naked,’ ‘nudity,’ ‘bare place,’ which represents the ‘grotto’ or ‘den’ of the tree I sought refuge under, the bareness of the island as I arrived there and the disrobing of the serpent woman to reveal her true form. Interestingly, Mara is also that of the death goddess who tried to tempt the Buddha with visions of beautiful women, who also represents the illusory state of the world, and therefore forms a connection to the symbolism revealed by the island that appeared in the vision. With there being no basis whatsoever for any linguisitic connection between the Sanskrit Mara and the Hebrew ma’arah, the symbolic similarity present in this particular vision cannot be entirely discounted. Also symbolically relevant was the fact that this vision’s ‘enlightenment’ took place beneath the eaves of a tree, which reflects not only the location where mankind tasted enlightenment in Genesis, but also that of Gautama’s achievement beneath the eaves of the Boddhi tree.

Liriol’s translation to ‘lily’ that I purported above did not seem very significant here, but the appearance of a spirit akin to Lilith may have been evident due to the phonological similarities between these words, with the repetition of the letters L and I in the Square indicating the Hebrew ליל, denoting the ‘night’ from which Lilith takes her name, which roughly means ‘night monster.’ That her appearance came after day turned to night beneath the canopy of the tree appears to confirm this connection.

Of the other spirits that appear in this Square, the name of Aril may be connected to the Hebrew ערל (a’aril), ‘uncircumcised,’ which reflect the spirits being seen as ‘pagan’ and therefore inimical to God in the Jewish context of the Abramelin. Amillis, meanwhile, resembles עָמֵל (a’amil), ‘worker,’ ‘labourer,’ ‘exertion,’ ‘toil,’ and is possibly named as such due to the servant spirits’ functional aspects as the ‘slaves’ of the Four Kings.

Corvid Offerings


A pleasant synchronicity relating to the vision of a Pumpkin occurred this morning when a magpie landed at my window ledge to indulge in an offering of cake and honey I’d left there after some ongoing work with the spirit Naberius last week. The cake had been left untouched until today, so the timing of this bird appearing now, following a vision in which I flew to a window ledge in the form of a crow, is quite interesting. Also relevant, perhaps, was the appearance of a woman with equally black and white hair in the vision and the fact that Naberius, who the offering was left for, comes in the form of a crow in the Pseudomonarchia Daemonum.

The magpie’s appearance made me jump a little as he was quite bold, peering in at me through a gap in the window as if he was thinking of inviting himself in. Once I saw him, he proceeded to rip a large chunk off the cake and fly away. About an hour later, he returned for more.

It’s a known phenomenon that corvids like to bring gifts to people who feed them, and it’s been a long-standing desire of mine to receive such a treasure. I think I’ll start leaving more stuff out for this cheeky chap with the hope of receiving something shiny he’s picked up on his travels in return.

On Hidden Names

The appearance of the name FOLAK (Volac) in the square used to obtain a vision of a Pumpkin presents a notable phenomenon that is consistent among the squares of the Abramelin. That phenomenon is the appearance of the names (or close approximations of them) of spirits that can be found within other Grimoires, such as the Lemegeton. Looking at the Square used to obtain the vision of A Hunting Party for instance, it can be seen that the names AGAROS, STOLAS, ZAGAN (as SAGAN) and OSE appear in plain, scattered or anagrammed form, as do those of the Elemental Kings ORIENS and ARITON and the Book of Offices spirit SESON (an alias of Purson). While these manifestations seem vague, the pattern of their appearances are consistent with those of the servitors that are professed to be associated with the squares within the texts of the Abramelin, so this is a consideration worth bearing in mind when analysing the squares. As it is evident that it is not only spirit names that appear in the squares, but also the Greek, Latin and Hebrew words that are consistent with the themes of the Squares’ powers, it should also be considered that other meaningful words may also be hidden within them. Looking at the square for the Hunting Party again, it is apparent that it also contains the letters of the word GOETIA in close proximity to each other and fittingly—considering the nature of the astral visions they induce—the letters of the word ERGOT appear in such a fashion, too, suggesting a possible shamanic and entheogenic element in this form of magic.

III. A Pumpkin

Servitors: Apolion, Nascelon (Naskelon), Nasi, Afolop (Afokop), Kilik, Kokolon, Alpas, Ipakol.

The word found on the Square’s outer edges, KIKAION, comes from the Hebrew קיקיון (see Jonah 4:6-11), which relates to a gourd, which belongs to the same family¹ as the pumpkin.

The Vision

A tall cedar appeared on a brown, marshy, windswept landscape. In its boughs hung a pumpkin, which rocked violently in the wind. In the surrounding branches bells tinkled and electric lights hung, which grew dim with the stronger gusts. As I watched, the pumpkin in the tree rotated to reveal the carved face of a jack-o-lantern which I fully expected to find appearing in this vision. As soon as its ‘face’ was visible, the pumpkin rocked back and forth with such strength that it fell to the ground and smashed into hundreds of pieces. I looked down to inspect its ruin and saw black seeds amidst the slivers of orange flesh that had scattered over the marsh. Rotten hands emerged from the ground to grasp at the seeds, which they took into the earth with them. As I saw their hands return to the world below, I imagined the place their bearers resided in to be akin to Dante’s description of the Vestibule of Hell, where the grasping, self-serving, noncommittal souls dwelled. As I looked down, I saw that I had no physical form, and realised that this was the reason why I didn’t sink unto the earth to join the spirits beneath. Thinking this, I wondered how the huge tree stayed so perfectly upright in such terrain and perceived that it was because its roots ran deep into the bones of the earth.

With my attention coming back to the shard of pumpkin flesh, I saw that one of the pieces had the ‘eye’ of the jack-o-lantern in it. Then I saw another, and decided to wear the pieces over my face to construct a mask out of them. When I did this, a pale, translucent tunnel appeared, which I was prompted to follow through the marshy landscape. It led to a small village with two wind turbines on its edge, and a tall, wooden house with a wedge-shaped roof rising over it on a small hill. I flew up to one of its windows, where I noticed I now wore the form of a crow. At the window, a black figure awaited me, whose name formed in my mind as the image of a doll, which led to me perceiving his name to be Adolon. As I landed, he spoke to me with a harsh whisper, asking ‘do you have it?’ In response, I dropped one of the black pumpkin seeds into his hand. He devoured the seed and prompted me to do the same. I held a seed in my beak and listened to the spirit’s instructions on how to eat it. As I did so, I became aware of a faint kundalini response which came with an explanation from the spirit about what the seeds actually were. They were souls, he said, that one devours into one’s being just as one takes a soul into the body upon birth then passes out of it again upon death. After eating his seed, he thanked me and asked what I wished for in return. I told him I wished for an increase in daemonic and spiritual awakening in the world, but he denied this as it was beyond his capability to assist with and bade me to ask for something else. I stated that I did not have any great desire and was content to act as his intermediary. In response, he directed me to go to a castle that lay to the west (explaining that he was in the North) and speak with its tenant. This I did, where I found the castle to be entirely made of glass.

Inside, an old woman with grey skin, hair that was equally black and white and a face that had a large mouth but no eyes, greeted me. She explained that the crystalline castle represented clear sight, which she pointed out to be a great irony as she lived there but was blind. She stated she would allow me to take refuge there and visit whenever I wanted to. So, in human form, I entered and took residence in a small cell of stone and wood which was filled with a moderate collection of books. Before long, a face appeared in the square glass window of the blue metal door that barred entry to the room. It belonged to a spirit with a grief-stricken expression, who said ‘do open the door and let me in, would you.’ Having had many experiences in astral travel and at the edge of sleep where I am asked to ‘open the door’ and allow entities to enter something (myself, I assume), I refused and said ‘what is your name, wretched spirit?’ It replied, ‘I am called Doolas, for I am sorrowful.’ I opened the door slightly, still barring entry to the cell, and saw that its body was thin with starvation. Recognising the name of this spirit, I asked it to confirm more about its identity, asking ‘art thou Volac?’ At the mention of this name, the spirit grew furious and tried to grab one of the pumpkin seeds from me, which I now held one of in my hand, demanding that I gave it to him. In response, I slammed the door shut and it disappeared.

Then the vision began to fade and my mind grew still and silent. In this state, I grew aware of the Square I held in my right hand growing heavy, then felt something heavy in my left hand too and perceived that I was holding a book. In my mind’s eye I saw that it had a worn orange cover, with words that I could barely read marked all over it. Then, after scouring the cover, I found that I could just about make out the title, which was ‘The Historical Approach to Magic,’ and this is where the vision ended.

Due to the time of year, there was little chance for synchronicities involving pumpkins to present themselves. However, allowing YouTube to play recommended videos beforehand involved one in which a graphic of three pumpkins appeared while I was in the final stages of preparation.

The received name Adolon comes from the Greek ἄδολον, meaning ‘sincere,’ ‘true’ or ‘honest,’ while the similarly named Doolas is a Book of Offices cognate of the Lemegeton spirit Volac and has a likely etymological origin in the Latin Dolorosus, ‘painful’ or the Greek Δούλος, ‘slave.’ Notably, a phonetic variation of the name Volac appears in the Square with the spelling FOLAK, as does the English word ‘pain’ and the Greek PEINA (Πείνα), meaning ‘hunger’ or ‘starvation.’

Of the names of the servitors apparent in this Square, the most prominent is that of Apolion, whose name appears in the line spelling ONAPOLI. This name is derived from Apollyon, the Angel of the Abyss in the Book of Revelations, and means ‘destroyer.’ In the vision, the ‘destroyer’ was the great wind which caused the pumpkin to fall from the tree and disintegrate. Also present is the name Nascelon (here spelled Naskelon), which is reminiscent of the name of the Philistine city Ashkelon, which was denigrated in Zephaniah 2:4 for its prominent idolatry and was cited by Herodotus as being the site of the most ancient temple of the goddess Ashtoreth. The name Nasi derives from the Hebrew נשי meaning ‘womanly’ or ‘effeminate’ and may have been reflected in the feminine entities that appeared in both this and the vision of the Square relating to A Hunting Party. Another name that appeared in both this and the last Square, Kilik, possibly comes from the Hebrew חַיִל (khil) meaning ‘power,’ ‘strength,’ ‘bastion,’ ‘army’ and ‘wealth.’ This spirit may be an alias of the Grimorium Verum spirit Khil who is connected in function to the Lemegeton spirit Agares—whose name also appears in this square with the spelling Agaros—due to their shared ability to cause Earthquakes. The appearance of the spirit Alpas is also of note, as his Lemegeton cognate Malphas appears as a crow and causes the construction of houses and castles, which all form pertinent aspects of this vision. Other evident names include Kokolon, which has a possible origin in קלון (qlon) meaning ‘shame,’ ‘infamy,’ ‘disgrace,’ ‘prostitution,’ and Afolop, which may come from אפל (afol) meaning ‘dark,’ ‘leaden,’ ‘gloomy,’ ‘black,’ ‘dim,’ ‘obscure.’ With the alternative spelling Afokop found in this square, however, the latter of these two final names also has the additional meaning אפק (afoq) denoting ‘strength,’ ‘restraint’ or ‘a stronghold or fortress,’ and אופק (aofoq), meaning ‘vista’ or ‘horizon,’ to consider.

¹ Cucurbitaceae.

II. A Hunting Party


Wild Hunt

Servitors: Nagar, Gorilon, Liriol, Asorega, Alogil, Ragaras, Igilon, Sigis, Laralos, Gesegas, Nasi, Tolet, Igarag, Aril, Lagasas, Kilik, Kokolon, Isagas, Soterion, Negen.

The linguisitic origin of the word KINIGESIA found in the outer lines of the Square comes from the Greek κυνήγι, ‘hunting’ combined with the suffix -ησία (-esia) which denotes the condition, situation, process or action of something.
The Vision

As the sitting begun, the name ‘Asugul’ came through very quickly, followed by a vision of a mounted fox-hunting party on the bridge over the canal near the entrance of London Zoo. Their leader, a sharp-featured, menacing man whose flesh was corpse-like in hue, approached me aggressively, making me think for a moment that I was their pray and that I should flee, but I stood my ground. As he came closer, he remonstrated with me, saying ‘you’ve got one of them haven’t you?’ As he spoke, I sensed he was hunting something that had escaped him. Not knowing what he was talking about, I denied having whatever he was hunting, but thought he may have been pursuing a familiar spirit who had escaped his custody. Then, on hearing a word that sounded like ‘spray,’ I saw that one of the party had a golden osprey on its arm, which it released into the sky. I followed its course with my mind and saw the world below from its point of view, feeling saddened by the fact that the bird was attached to a long cord and wasn’t free to do its own will. Looking down from its high viewpoint, I saw that there was no trace of whatever it was that the party was looking for. Returning to ground level, I perceived the other huntsmen as a congregation of pallid-skinned creatures with large, bright, yellow eyes gathering around me. At the same time, I also sensed them manifesting in the room around me as small black spots of shadow clinging to the walls.

Then the setting changed to that of a forest, where I saw an old, bearded man clad in grey being sitting on the back of a horse-drawn cart. His left arm was covered in blood up to the elbow and he seemed unable to walk by himself, as if he’d been injured. From previous works, I recognised this man as one of the guises of the spirit Barbatos, a forest-dwelling spirit with links to hunting due to Weyer’s description of him as appearing in Signo sagittarii sylvestris, or ‘as a woodland archer.’ As the old man was led away into the distant forest, I saw his face quickly change into that of a bear, then a lion, then a ram, then a boar then finally a hare. As the cart disappeared down the track, I saw the leg and haunches of a white hare darting away from the scene. Some distance behind the cart came a collection of white-robed, hooded figures who eventually came to a stop at a bear trap and threw a shrouded, human-shaped body into it. Before I could see anything else, the scene faded into darkness in which a line of black women walked before me. One of them was very curious about the square in my hand and asked to see it. I consented and opened my hand, leaving it balancing on my palm for the rest of the session. After doing this, the last of the women, who bore beautiful, Egyptian features approached me and said ‘sit steadfast and see.’ After this, the forest reappeared and I now saw that the body in the pit was that of a bear, not a human, as if it had changed its form after being slain. Around its carcass, fur-clad men gathering around it to eat its flesh and absorb its strength.

This was the last thing I recall seeing in the vision, which began to grow hazy and filled with nonsense words and fleeting images. This signified the time had come to give up and end the session.

The next morning, I noted a curious synchronicity relating to two people, one of whom had the surname of an animal and the other had a surname which was one letter away from the name one of the spirits of the Lemegeton. For privacy reasons, those persons cannot be named here. The most curious aspect of the vision, from my perspective, was the immediate reception of the name Asugul, which seemed familiar but yielded no significant results when a cursory Google search was run, and bore no direct relation to any of the Servitors’ names. Analysing the structure of this name, however, I noted its similarity to words of Semitic origin such as the Hebrew Az, goat, and the Arabic Ghûl, ‘ghoul,’ which is a demonic entity that robs graves and feeds on corpses. More significant, maybe, was the phonological similarity of this word to the Babylonian Assaku and the Sumerian Asag, which were malicious spirits who attacked and killed human beings by means of disease. In conjunction with the word ghûl—or xul in its more ancient, Mesopotamian form—Asag forms the new word Asaghul or Asaxul which, in this scenario, relates to a class of spirits that bring death then feast on the flesh of the slain. This new word, given in this vision as the name Asugul, coincides strongly with the function of the huntsmen who pervaded the scene as well as the fate of the bear that was fed upon as it lay dead in the pit.

The Mysteries of the Four Kings

After the initial banishing ritual, a simple invocation of the Four Elemental Kings, Oriens, Amaymon, Paymon and Ariton or Egin—who govern the squares of the twenty-seventh chapter of the Abramelin jointly—is performed before meditating with the Square. While this is not a requirement for working with the Squares, I do this as a means to draw the Kings’ attention to the work in hand as well as pay them ongoing tribute for other works and concerns their assistance has proved vital to.

Based upon the descriptions of them that appear in the Book of Offices, Oriens, who represents dawn and the quarter of the Zodiac beginning with Aries, is called in the East and is visualised as a beautiful, flaxen-haired woman riding upon an elephant; Amaymon, who represents the sun at noon and the quarter of the Zodiac beginning with Capricorn, is called in the South and appears as a thick-haired, bearded old man riding a rampaging lion; Paymon, who represents the setting sun and the quarter of the Zodiac beginning with Libra, is called in the West and comes as a beautiful, crowned, russet-haired woman riding a Camel; and Egin, who represents the sun at midnight and the quarter of the Zodiac that begins with Cancer, is called in the North and comes as a sharp-featured man with tusks protruding from his face who wears a jewelled crown upon his head, bears two hissing serpents around his right arm and rides a great dragon.

As the diurnal sequence shows, these spirits can be incorporated into rites such as Liber Resh vel Helios at the appropriate times of day, while their Zodiacal properties gives them rulership over the four respective elements of Fire, Earth, Air and Water as well as the Zodiacal and Decanate daemons associated with their assigned seasons of Spring, Winter, Autumn and Summer. Followed in chronological sequence from the Vernal Equinox in the East to the Winter Solstice in the South, the Kings also prove themselves to be in accord with the Zodiacal IHVH formula, only with the Yod and Vau of Fire and Air being represented by female principles instead of male and the two Hehs of Water and Earth being represented by male principles instead of female. This reversal hints towards the deeper alchemical truths that lie concealed within the coded mysteries of daemonic magic.

On the Servitors Lagasas and Helel

Of the Servitors associated with the Square used to see A Beautiful Lawn, the name Lagasas may derive from the Greek λαγός, ‘hare’ and λαγάς, ‘hare hunter.’ This is fitting as this spirit also appears in the second square of this chapter which causes one to see a hunting party. Helel appears to derive from the Hebrew חלל meaning ‘cavity,’ ‘void,’ ‘hollow,’ ‘to begin (as if by an opening-wedge),’ to pollute oneself ritually or sexually’ and ‘to bore through or pierce.’ With the scrying featuring the opening up of a cavity in the earth where a strange ritual was being performed followed by overt sexual imagery, Helel appears to have been the dominant servant spirit behind this vision.

I. A Beautiful Lawn

Servitors: Lagasas, Helel.

The relevant servitors are determined by considering which of the 114 spirits under the joint rulership of the Elemental Kings given in Georg Dehn’s edition of the Abramelin fit into the square in their entirety. In this case, just two of those spirits could be attributed to it, with Helel’s name being present due to the repeated appearance of the letters H, E and L in the square. Lagasaf, however, was determined to be relevant due to the common scribal confusion of the letters ‘s’ and ‘f,’¹ making the alternative name ‘Lagasas’ apparent. As far as spirit names go, the suffix -as is quite common—as seen in the names of Pseudomonarchia Daemonum spirits such as Pruflas, Malphas, Halphas, Stolas, Orobas, Furcas and Amduscias—while the suffix -af is not. The linguistic origin of the word HESEB found in the outer lines of the square is likely to derived from the Biblical Hebrew עשב (eseb), signifying ‘grass’ or ‘herbage.’


After anointing the brow with Oil of Abramelin, the banishing was performed and the Four Kings called in a rudimentary fashion in their respective quarters followed by a verbal request to Lagasas and Helel to assist with the experiment. A time period of thirty minutes was then observed in a state of astral meditation with the square held in the right hand. Once completed, rough notes were taken, which were written up as follows.
The Vision

On sitting down to meditate after the banishing and invocation of the Four Kings, I formed the image of the lawn of a nearby stately home as the object of meditation. This location was visualised due to a synchronicity that occurred earlier today when a friend told me he had visited the place in question yesterday after I had recommended he visit it for a family day out a couple of weeks ago. My own visits to this house have involved me going to sit and read on its lawn on sunny days, so this was quite naturally the scene I found myself setting.

As soon as the lawn’s visual image became solid and clear, dark clouds blotted out the sun overhead. Then a strange, poisonous rain began to fall, and where it landed on the lawn, the perfect grass became blackened by a corrosive stain. In the midst of the new blot, mushrooms began to grow, and as their roots spread underground the colour of the sky around me changed to a strange mixture of orange, yellow and purple, with the air it hung in growing heavy with a deep silence. Beneath me, the mushrooms had now spread into a vast, underground network that pulled apart the stones of the earth as it grew until a large, circular fissure lay before me. Around the ledge of the chasm, a congregation of small, black-bodied spirits held hands and danced in a circle, singing a guttural chant as they did so.

As their song concluded, I rose higher into the air and saw thousands of large, black spiders pouring out of the hole in the ground, escaping into the world at large to do whatever mischief the gnome-like spirits had conjured them to do. As the spiders disappeared, I noted that the hole in the earth now had the shape of a Vesica Piscis and that the clouds that obscured the sun were now clearing. As the sun began to shine again, a rainbow formed and its end moved across the surface of the grass until it shone directly into the yoni-shaped fissure, filling its darkness with its rays. Hundreds of small, golden lights then flowed down the beams of the rainbow, healing the earth of its wound and leaving the lawn beautiful and unmarred under a red-gold sunset.

As the sun disappeared below the horizon, I noted that the grass where the rainbow had shone was covered in a beautiful, diamond-like dew which reflected the brightness of the stars above, with traces of the rainbow I had seen lingering in its light. I scooped up a handful of the dew and drank it. Noticing that it tasted like honey, I let myself fall into a passive state in which I held the form of a single, silver dewdrop in my mind. In that state, no further visualisations came, though shortly before the end of the session a voice from the depths of my mind commented that I had ‘strange friends.’

In addition to the synchronicity that occurred with my friend telling me of his visit to the house with the lawn, another synchronicity came while writing this summary of my experience up when an app I had installed yesterday delivered its daily notification to my phone. Having a feeling that I would see something significant on it, I browsed through the app—which delivers strange and curious news stories—and discovered the following article as the eleventh item down the list.³


What I found to be of subtle interest here was how alike the description of mushroom colonies are to previous thoughts I’ve had about collectives of spirits. Every distinct cap of a fungus colony is described as being in communication with the others through their rhizomorphs, through which they work towards a singular collective purpose. In the case of many of the overlapping spirits of the Grimoires, such as Furcas, Partas, Ansoryor and Anaboth, or those such as Baël, Berith and Balaam—who clearly derive from Belzebuth, the Prince of Devils, and the Baalim of the Ancient Near East—there often appears to be a single common emanatory source underpinning the names, forms and purposes and natures of the collective.

In all, this was rather a good start to the experiment, with strong and strange visual elements throughout it as well as marked synchronicities preceding and following it.

I do wonder what mischief those spiders might get up to, though.

¹ Cited as a common scribal error by Takato Kato in Corrected Mistakes in Cambridge University Library MS Gg.4.27 in Design and Distribution of Late Medieval Manuscripts in England, ed. Margaret Connolly, Linne R. Mooney. Boydell & Brewer Ltd, 2008.

² See Deuteronomy 11:15: ונתתי עשב בשדך לבהמתך ואכלת ושבעת. “I will provide grass in the fields for your cattle, and you will eat and be satisfied.”

³ With eleven being the Qaballistic ‘number of magic,’ this proved to be another pleasant coincidence.

Abramelin Experiment

After some successful experimentation with the magic squares of Book Four of the Book of Abramelin, I’ve decided to undergo a more structured series of visual quests centred around the thirty-nine squares that feature in Chapter Twenty-Seven and record them here.

This chapter specifically deals with making ‘all kinds of things appear.’ This is predominantly astral in nature, though observations should be kept in everyday life for synchronistic correspondences with the images worked with each day.

The work is simple in nature and adheres to the following instructions:

1. Craft the square the day before using it by writing the names onto the page of a pad of 5mm square-ruled paper.
2. Before bed that night, form the intent to use the square for the purpose designated to it the following day.
3. Be aware of any dreams or synchronicities before and after the work is performed
4. On performing the work itself, begin with a banishing rite of your choice then cut the square out of the pad.
5. A short, personal invocation of the Elemental Kings Oriens, Amaymon, Paymon and Ariton/Egin—who rule the operations of this chapter—is then performed, with the square in held in the hand, by facing each King’s respective directions— East, South, West and North—before returning to the East to perform the work.
6. With the square in your hand, or upon your head under a hood or cap, enter a meditative state with the intent of receiving the relevant visions. The state aimed for should be passive and receptive.
7. Results should then be recorded and analysed.
8. No closing banishing should be performed if one wishes to note any subsequent external synchronicities that may occur. Work on the next square two days later will involve a banishing in any case.
9. Repeat stages 1-8 the following day until the experiment is concluded on day seventy-eight, during which a final banishing should occur before midnight.

Each square and its associated properties will appear here in full along with the names of the specific servant spirits which can also be called upon to assist with the operation. To space the workings out and allow its synchronistic effects to be noted, a meditative working is carried out every other day over a total of seventy-eight days, with the first day being dedicated to making the square and forming the intent at night, before the meditation is done at one’s convenience the following day. The third day then repeats the actions of the first day for the next square and so on until day seventy-eight, when the experiment draws to a close.

The squares are powerful talismans which the Chiefs and their servants have sworn oaths to uphold the functions of. In my own experience, they are effective, simple tools, but come with warnings attached. Some have advised, for instance, that they should not be left lying around or visible to others as they are activated as soon as their form has been established without any need to consecrate or vivify by extraneous rites. Without banishing immediately afterwards, general feelings of oppression, paranoia, noticing objects moving by themselves, bad-temperedness, poor discipline, frightening dreams, visual phenomena such as seeing shapes or shadows moving, hearing noises such as whispers and breathing have all proved quite common in my own experience, as is the case with all other work involving spirits. Not only does the person performing the work notice such effects, but others who share the space they have been worked in may notice them, too. I’ve also noticed that the squares have the tendency to disappear out of sight, slip out of the pocket if being carried, or somehow become lost once they have served their purpose. If they don’t disappear, they should either be put somewhere secret or appropriately disposed of as one sees fit.

In this work, they are used to make the following things appear:

1. A beautiful lawn
2. A hunting party
3. A pumpkin
4. A beautiful garden
5. A beautiful palace
6. A rose garden
7. A big lake
8. A snow
9. A grape plant or grapes
10. A vineyard
11. Wild animals
12. Paddocks and fields
13. Farm buildings
14. A castle on a mountain
15. A mountain
16. Flowers
17. Bridges
18. A running spring
19. A village
20. All sorts of trees, also a forest
21. A lion
22. A wild cat
23. Cranes
24. Owls
25. Steers
26. Giants
27. Horses
28. Peacocks
29. Eagles
30. Bears
31. Buffaloes
32. Wild pigs
33. Dragons
34. Unicorns
35. Vultures
36. Foxes
37. Griffins
38. Rabbits
39. Dogs

Anyone wishing to follow suit and perform any or all of the astral meditations at any point is encouraged to communicate their findings in the comments.