Servitors: Lagasas, Ekalak, Kelen.

The word at the outer edge of the square, KELEF, derives from the Hebrew כלב (kaleb), meaning ‘dog.’ The spelling given here, with an ‘F’ as the final character reflects the soft ‘v’ pronunciation of the Hebrew letter beth, the word KELEB would be more accurate. If this variation is accounted for, the reversal of this word in the bottom row, FELEK, may be seen as an expression of the name of the Moabite King Balak, who commissioned the Mesopotamian sorcerer Balaam to curse the migrating Hebrews. Phonically, it also resembles the name of the Lemegeton spirit Valak. The name in the Central Square is a palindromic truncation of that of the spirit Lagasas, whose name derives from the Greek Λαγός (lagos), meaning ‘hare.’ EMAGE in the second row may be a variation of the Greek μαγεία (mageia), ‘magic,’ while its reversal EGAME may come from the Hebrew אגם (agam), ‘lake.’

Other notable meanings attached to the word in the first line are found in Mathers’s interpretations of Greek and Hebrew, with the spirit name Kelen being cited coming from the Greek ‘going swiftly, as in a race’ (though it is closer to Κελεός meaning ‘to order’ or ‘urge’), while a spirit named Kele, who comes under the joint rulership of Asmoday and Astaroth, is purported to come from the Hebrew for ‘to consume,’ which may come from the word לכלות (lakaloth).

The word KALEF is also found in Chapter 5 of the MSA manuscript, appearing in the Square that causes familiars to appear in the form of an ape, though the MSW manuscript associates it with the appearance of a lion in a Square that closely resembles the one that causes visions of dogs. As the following Square in Chapter 5 of the MSW causes familiars to take canine form, it is possible that the associations made between this Square with either apes or lions are erroneous.


The Vision

A small black and white dog was seen wandering alone across a moor at night. Larger, more dangerous dogs were hunting it, their howls and barks loud on the wind. Then the small dog uncovered a human corpse lying in the grass and proceeded to feast upon its flesh until it was stripped bare, growing braver and stronger with every bite. When it had finished, the dogs gave up their hunt, for the distant scent of human flesh had faded. The small dog was fearless now and proceeded to eat the eyes of the corpse from out of its sockets, then consumed the brain from out of its cranium. Having eaten the brain, the dog developed a human perception of the world. With my own conscious thoughts now melding with those of the dog, I took the skull from the ground and looked into its hollow sockets and saw small flames flickering in them for a few seconds.

When the flames were extinguished, I walked into a forest grove and lay the skull upon a stone altar there. As in the vision of Vultures, there was an inscription visible on the stone that was carved into it in Runic script: this time it read PEIRIOS. After this inscription appeared three Tyr runes, which prompted me to look up into the sky in the direction that their ‘arrows’ were facing. Lying on my back, I watched the heavens turn and the most prominent constellation was that of Orion. With him were his dogs, Canis Major and Minor, and they were chasing the Hare, Lupus, around the sky. I realised this scene to be the true representation behind the repeated hunting scenes evident in these visions. They represented the celestial hunt of the underworld giant and his psychopomps, the rotation of the Earth, the seasons and the cycle of day and night.

Then I saw the chase of the hunter, the dogs and the hare continue into the underworld as the constellations dropped below the horizon and the Sun rose with the dawn. I watched the Sun in silence and understood, as its rays shone upon me, that the Squares in this chapter reveal means to uncover the gateways into the underworld. With this understanding came the instruction that I should ‘invoke the dog,’ the guardian of the gates of the underworld—Cerberus—to pass into that domain.


Checking the diary I kept before starting this project revealed that the Moon was in Cancer when the initial prompting came to explore all thirty-nine Squares of this chapter through the medium of scrying. The Moon’s appearance in this sign is my prompt to conduct regular work with the spirit Naberius, which the Pseudomonarchia Daemonum reveals to be an alias name of the daemon Cerberus, the guardian of the entrance of Hades. That the sequence of visions ended with a referral back to this work may be a verification of the influence of the spirit on the entire exercise.

The morning on which I made that decision came with memories of a dream in which I had died in a plane crash and was wandering at the peripherals of the underworld and was searching for the correct door through which full entry to that domain could be gained. Of the edges of the underworld I noted:

There was a happy feel about the place, as I was with good, but anonymous, companions who I was working with to get to the correct destination.  With them, I climbed a wooden stairway from a low level in the place between heaven and hell. As I climbed, I wondered if N was dreaming about me as I was dead and she was still alive, so decided to send her a dream message to her to pass on to family stating that I was OK and was just looking for the right door, so they should not be concerned about me as I was in the company of good friends and as long as I remained true to my own heart I would make it to the right place. Emotional music played which sounded like the opening piece of a Bach violin concerto.

Later that day, on working with Naberius, I noted:

Performed thirty minutes meditation with the seal of Naberius carved into the altar skull as the meditation object. After knocking at the castle gates and entering the chamber, there appeared a strong, flashing mauve aura all around the altar and the skull seemed to move around and become very ‘alive’ as the visual effects kicked in. I was aiming for stillness and only making note of the phenomena that occurred, which involved seeing leaves in the eyes of a skull which became a forest floor concealing a dead body. Soon after, a female voice, slightly northern, said ‘Where were Jack and Jason found?’

Visuals in the surface of the skull included two different men’s faces, a prominent cat, a horse and, briefly a fish or whale. The wall behind the altar took on a reflective quality and I could see the outline of two human shapes in it… I recalled that Jason was the captain of the Argo and was ultimately found in Colchis, the land of Medea and the golden fleece, so his name perhaps represented underworld traverses… and that Jack the Giant Slayer was found in a castle set high in the sky.

The received word PEIRIOS engraved on the tombstone may come from the Greek Πειραιεύς (Peraieus), which roughly means ‘the place over the passage’ and is a famous port.

The Square was constructed with the Moon at 3º Sagittarius and scried with the Moon at 21º Aquarius.

XXXVII: Griffins



Servitors: Isagas, Trapis, Parelit, Liriol, Asorega, Alogil, Ragaras, Sigis, Pliroki, Laralos, Gesegas, Tolet, Igarag, Ekalak, Ilekel, Aril, Lagasas, Kilik, Elzegar, Alpas

The word at the edge of the Square, GIRIPES, comes from the Hebrew גריפין (giripin) meaning ‘griffin.’ The name in the Central Cross is not traceable to a specific spirit, but closely resembles a mixture of the names Gesegas, Isagas and Igarag. Also notable is the appearance of the word ELOGAPI, which appears to be a derivation of the Grimorium Verum spirit Elelogap and the Lesser Key of Solomon spirit Gaap.

The Vision

I saw a black sky, twilit at its edges, from which a great star fell and ripped the heavens asunder. Beneath the fabric of the torn skies lay another sky, all of which was of the same twilit red and blue as the edges of the sky before it was. Then this sky was torn apart to reveal a brilliant blue dome. This tearing away continued until all that was left was the bare dark of a world of nothingness.

Then a single flame appeared and I saw that I was in a wood at night and the fire was my light and warmth. The Moon glinted white between a gap in the trees and a new world was formed from its light. In this world I found myself sat in a hollow with leaves all about me, beneath which lay a wooden trap door, which opened as soon as I became aware of it and plummeted me down into a musty storage room that laid buried in the earth. In the rooms were many cages housing lifeless sphinxes and harpies which were guarded by a motionless leopard that was sat in the corner of the room.

I noted that these creatures were all chimeras of some form and was prompted to choose one of them to set free. In a gap between the cages I saw the head of an eagle and touched its head. A glyph marked the spot on its head where I touched it which was like a broken square intersected by a triangular arrowhead. The creature came to life at my touch and flew up to the ground where it revealed itself to be a griffin. Behind it dangled a chain that I hauled myself up to the surface with, then used to control the griffin like a hawk is controlled by its handler’s tether. I pulled myself close to it and saw that its right eye was a Moon and its left eye a Sun. Then the Moon went through its phases until it was New and faded to black. In its place another Sun appeared so that both of its eyes shone with a great light that caused the darkened world to become awash with sunlight.

Seeing this, I let the griffin free of its leash and it flew into the skies before descending to a sandy beach where it wrote the word MARIM in the sand in the form of a Cross. Then the sea came in and washed over the letters, but only the letter ‘R’ was removed by the spume, leaving the word MAIM written twice.


As the ‘R’ disappeared, so too did the griffin fade over the distant ocean which glittered with a sparkling golden light as it reflected the Sun’s rays.


The ‘R’ that was washed away by the sea I understood to be a representation of the Hebrew letter Resh, which symbolises the Sun in Hermetic magic, while the word ‘Maim,’ means ‘Water.’ The word left by the griffin in the sand also had the Hebrew ארי (Ari) meaning ‘Lion’ at its heart. The Lion, as well as being a Solar symbol, is the creature that the Griffin’s body is composed of. The word ‘Marim’ also bears a certain similarity to the Latin ‘maris’ meaning ‘sea.’

The new spirits to feature in this square are Parelit and Elzegar. The name of Parelit may have its origins in the Hebrew words פער (pa’ar) – ‘opening,’ ‘gap,’ ‘gulf’ and הליט (halit), ‘cover,’ giving the name the meaning ‘to cover a gulf.’ Mathers suggests the meaning of the name Elzegar is to be found in the Hebrew for ‘turning aside.’

The Square was constructed with the Moon at 28º Cancer and performed with the Moon at 6º Leo.

XXXVI: Foxes

Fox Luring Birds


Servitors: Holop, Lagasas, Schalluah Alagas.

The word at the outer edge of the Square, SUHAL, derives from the Hebrew שועל (shua’al), meaning ‘fox’ and ‘cunning.’ The name in the Central Square is a palindromic expression of that of the spirit HOLOP, which originates in the Hebrew חלוף (cholup), meaning ‘transitory’ or ‘ephemeral.’ The word in the second line, UGOMA, may be a derivation of עגמה (ogmah), meaning ‘grief,’ ‘sorrow,’ ‘distress’ or ‘anguish,’ while the reversal of SUHAL, LAHUS, may relate to the root word לחש (lachesh), denoting a ‘spell,’ ‘whisper,’ ‘hiss’ or ‘murmur.’

The Vision

The vision was slow to come, which has not been the case with any of the previous thirty-five experiments. When it came, it began in the same room I was performing the scrying in, with my attention being drawn to an empty bottle of wine on my windowsill. In the vision, I moved to the window in my subtle body, picked up the bottle, then placed it on the floor before me. With it moved away from the window, I was now able to leave exit through it and explore the neighbourhood.

The area I live in has wild foxes living nearby, which I often hear them crying at night and have seen the large dog fox wandering around scavenging several times. In the vision, I found him in one of the places I have seen him before and followed him to the heath a few hundred yards away and followed him into his den. His vixen and cubs were all inside, as were the bones of the dead birds they had feasted upon. On leaving the foxes den, I found myself in the most remote parts of the Heath looking south towards the city. It looked abandoned and seemed to be behind a grey gauze of mist that froze it in time. No people were anywhere to be seen on the Heath either, which is usually busy with runners and dog-walkers.

Standing alone in this desolate version of my familiar world, I realised that foxes and crows were approaching me from all around. I found myself in possession of the wine bottle from the beginning of the vision again and now found it to be full, so I emptied its contents around me in a large circle and sat inside it and waited for the animals to arrive. They confirmed, as they came, that they were not animals, as none of the beasts in these visions have been, but were the spirits and daemons of the land which had been drawn to me because of the magical activities I’d performed in the area. I realised that the circle of wine I had poured on the ground was also an offering to them and that I should ensure to make such offerings to the spirits of the places I work to appease them. This is something I have done for specific spirits in the past, but here I was informed that I should do likewise for the non-specific ones too. As part of my works, I have left offerings of raw meat in certain places, and on one occasion, my doing so was followed very quickly by the appearance of the local dog fox, which no doubt tucked into the meat I had left out. I have also found myself feeding some friendly crows on the Heath on one occasion, so believe the appearance of foxes and crows in this vision very much represents the food I have given those precise creatures on occasion.

Once I had understood that I was being guided towards doing such practices, I had a vision of the Hebrew letters מון which quickly transformed into the letters סון as soon as I attempted to inspect them.

Then the vision changed somewhat, and I found the Heath had changed its appearance into a wilder landscape where I stood on the slopes of a long hill. There, the form of the letter ן from the previous part of the vision transformed into a wooden signpost that pointed to the bottom of the hill. From the signpost to the hill’s base ran a long fence which led to a white rabbit. Seeing it, I turned into a fox and chased it into a hole in the ground that ran beneath the fence. Rather than turning into some wild pursuit of ‘following the white rabbit’ however, I cornered it and devoured it straight away. Once it was eaten, I exited the hole on the opposite side from that which I had entered it through and found myself on the other side of the fence. There, the skies were not grey as they had been on the western side of this divide but were blue and clear. I transformed myself back into human shape and walked along the lush green and damp vegetation until I came to an electricity pylon. The air around it darkened, and it buzzed with the sound of water drops landing on its conductors. In response to the sudden change of climate around the pylon, I changed my form to that of a crow and flew to its top. There I saw that the grey mist only gathered around the pylons that had been built across this landscape, forming a criss-crossing network of misty streaks. Looking to the south I saw a human settlement coming to life, but it was no longer that of the city but of a small town set within a wide valley.

Then, all turned black and the white face of a devil appeared from the darkness and projected the name Agrim to me. Then the image of a goat appeared, and an inner voice spoke of its importance due to it being able to devour and digest all kinds of things. It then trotted away and pacified itself in a bed of leaves where it took on the form of a lamb. And this is where the vision ended.


Of the servitors who appeared in this vision, Alagas—like Lagasas, who also appears here—has a name that comes the Greek λαγάς (lagas), meaning ‘a hare hunter,’ which fits well with the appearance of a rabbit being devoured by a fox. A spirit previously unseen in this sequence is Schalluah, whose name may derive from the Hebrew שלוה (shaluah), meaning ‘peace’ or ‘serenity.’

The Hebrew words מון (mun/mon) and סון (sun/son) are nonsensical, but appear to be rough transliterations of the English words Moon and Sun.

The name Agrim given by the white-faced devil towards the end of the vision may reflect the Greek word άγριος (agrios) meaning ‘wild,’ ‘savage,’ ‘ferocious’ or ‘lupine.’ The goat becoming the lamb appears to relate to the satiation of the spirits from being fed offerings, which led to their pacification.

The Square was constructed with the Moon at 26º Pisces and was scried with the Moon at 3º Aries.

XXXIII: Dragons



Servitors: Negen, Sigis, Gesegas, Nasi, Lagasas, Isagas.

The primary word on the Square’s outer edges, TANIN, comes from the Hebrew תנין‎ (Tannin), meaning ‘dragon,’ ‘serpent,’ ‘a monster’ or ‘a sea monster,’ though its ultimate root is תן (tan), denoting a jackal or any other fell land animal. The secondary on word on the outer edge NINAL may expand the watery connotations associated with the tannin, in its possible expression of NIN as the Hebrew letter nun, נן—which derives from a Phoenician pictogram that represented a fish or water serpent—and the divine suffix AL to represent a ‘fish god’ or divinity of the waters such as Dagon or Atargatis. The spirit name in the central cross is that of Negen, whose name comes from the word נגן which denotes ‘a musician.’ The word in the second column and row is also of importance as it comes from אשף (asep), meaning ‘a wizard,’ ‘a magician’ or ‘a sorcerer.’ In the original Square, the second row actually featured the word ASEPIN, which is the pluralised form of this word, but the ‘N’ at the end was removed as it would not fit in the Square and is also accounted for by the appearance of the letter ‘N’ both above and below the final ‘I’ of ASEPI.

The Vision

After invoking the Four Kings, the Dragon I visualised Egin sitting upon swooped down from behind me in the North and took me to the South over many fields and old castles before setting me down me to a thick forest. I climbed down from its back and stood at the eaves of the wood from which the sound of drums and wooden percussion instruments could be heard. I was reticent to enter the forest, which was filled with tall, straight trees that were planted in neat lines very close to each other, thinking that the dragon would incinerate the trees with its breath as soon as I set foot in it. On detecting this thought, it brought its enormous maw up close to me and told me that it could tear me apart easily enough if it meant to destroy me and urged me on. I raised myself up to look over the thick growth of orderly trees and saw that their heights were all also perfectly even. In their centre, in a grove, stood a tall white column, as sharp as a spike. I knew that this was where I must head.

I made my way through the woods and found it very difficult to walk through, and also found the vision, difficult to keep my concentration on as I attempted to walk through the trees, as though the whole vision would end any moment. I persevered and after travelling into the woods a little more, saw bloody human heads, from which all of the flesh had been gnawed upon the forest floor. The sound of the drums, which had not ceased since my entering the wood, now suggested the presence of cannibals. Then I came to a trough where all of the trees had been knocked flat to the floor by some great monster. Here I saw that the trees had fallen to form the shape of a great ribcage. I followed the direction of the carcass of this strange creature that was at once tree and bone, that was set at a crossroads that ran from west to east. Turning to my right, I headed east and came to the forest’s edge. The trees thinned there, and I recognised that part of the woods to be where the eagle had set me down in the previous vision. I saw the cliff line running away to the direction of the village where dragon meat disguised as that of buffaloes was sold and saw the sea before me where the buffaloes had dived down into the water.

Realising that my coming here had diverted from my goal, I re-entered the wood, came back to the wooden rib cage at the crossroads and ventured south again. I came to the tall white tower and saw that it was fastened to the earth by four white clamps, each of which ran in each cardinal direction. The tower tapered to a point, at the top of which a candle flame burned. I entered the tower and was elevated straight to the top where I found my essence merging with that of its flame. From that vantage point, I looked out in all four directions. To the South, before me, I saw the great watery dragon, Baltharin, in the waters, and also the island where the pig demons roamed far in the distance. Around to the West, I saw the great ranges of mountains with the chanting witches who lived in the thick forests at their feet. To the North, I saw the dragon who had set me at the forest’s edge and beyond him, the great plains, rivers and meadows, where I had seen the Lawn, the Beautiful Garden and the Bridges, Steers and Farm Buildings. And to the East, I perceived the forests and trees bordered by the rough wastelands and waterfalls where I had seen the Grape Plant, Vineyard and the Rose Garden. Here, in the centre of all of these things, where neither dragon could go, I connected with both of them, acting as an intermediary between them, and merged both of their essences as one in my fiery body.

As I gazed upon Baltharin in the seas to the South, I saw his body in the colours of blue and white, as I had seen them before, and upon his breast the number 6 was formed. Then, as I gazed upon the northern dragon, I perceived that his names was Larandros and that his black body and yellow breast were marked by the number 9. I understood that they represented the Sun and the Moon from this, and in me the forces of the two were combined and their spirits soared into the air and danced around one another in a wheeling dance taking the shapes of the number six and nine. I understood their names were deeply connected with one another in a way that I needed to figure out if I was to uncover the mystery behind each of their beings.  Then, above me, in the central point between these two forces, I saw that the Sun was directly over my head, as it would be if I stood at the Equator, and upon it was marked the glyph of the Zodiacal sign of Aries. Once the mingling of the essence of the dragons was complete, I became one with the beams of sunlight that came down from the scorching sun above and realised that everything in this world of visions was born of my own psyche and that I, as the essence of its Sun, had dominion over it. Yet all the creatures that lay within, although given flesh by the processes of my own mind and imagination, came from the great darkness beyond the spheres of that world, as, ultimately, did I.

The vision ended with the sight of a brown apple core and empty corn husk being tossed into the earth while the rays of my light shone on them. Then, almost instantly, the patch they were buried in yielded fresh produce in great abundance.


The vision was set about by a feeling of completion, as if it represented the coming together of all of the aspects of these visions so far, yet there are still six more visions to be seen. As the thirty-third vision, there may have been a mathematical relationship to the numbers six and nine that were revealed, with three plus three equalling six, and three multiplied by three equalling nine.

My place in the central point of the crossroads between the two oppositional forces was represented by my position on that worlds equator, which represents the position of 0º Latitude, mid-way between the tropics of Cancer in the North and Capricorn in the South. The appearance of the glyph of Aries upon the Sun also represented the point of 0º on the East-West ecliptic, where the Sun lies precisely between its Southern and Northern solstitial points. As the point of balance between these Solar and Lunar forces, I was a vessel for their coming together as male and female conjoined into one. Strangely, however, their positions were reversed, with the Northern Dragon representing the element of Earth and the Moon, and the Southern Dragon representing the Element of Water and the Sun. My understanding of these principles is good enough to know this wasn’t my own error, so why this anomaly occurred cannot be explained other than it showing the interchangeability of their essences.

The name Baltharin was previously assessed to mean Lord of the Razor, or similar, though an alternative possibility is that its suffix was not –tharin, as I interpreted it to be, but –thanin or —tannin, which would make it the Lord of the Dragons. The name Larandros represents a Latin or Greek linguistic expression, with Lar– possibly relating to the Lares, who were tutelary spirits of the home and the crossroads. The word Lares has an etymological origin in the Etruscan 𐌋𐌀𐌓, also meaning ‘Lord,’ while –andros either represents a masculine quality or a truncation of the Latin andron or andronis, which relates to a corridor, passageway or hallway. Given the great deal of imagery relating to crossroads in this vision, this seems of potential relevance, but there is also the possibility that the name Larandros means ‘Lord of Men’ in contrast to the ‘Lord of Dragons’ expressed in the name Balthanin.

The Square was constructed with the Moon at 1º Leo and scried with the Moon at 8º Leo.

XXXII: Wild Pigs


XXXII Wild Pigs

Servitors: Geloma, Nudeton, Manties, Mara, Liriol, Losimon, Lomiol, Irminon, Sarasim, Iuar, Adon, Girmil, Asturel, Alagas, Gorilon, Laralos, Gesegas, Milon, Erimites, Nasi, Tolet, Morilon, Ugesor, Ramoras, Igarag, Romages, Aril, Lagasas, Isagas, Romoron, Soterion, Negen, Nolom, Nagar, Amillis.

The word in the first row and column, CADASIN and CADESIR, possibly derive from the Hebrew root קדש (qadesh) – ‘holy,’ with the extension קדושין (kidushin) meaning ‘sanctification,’ ‘betrothal’ or ‘marriage,’ while the addition of שיר (sir) in the first column perhaps represents the addition of the word for ‘a chant’ or ‘a song.’ The words in the seventh row and column, RISEDAR and NISEDAR may come from the Hebrew שדר (sedar), ‘message.’ The spirit name in the central Square is an anagrammed representation of that of Geloma, which takes its meaning from the Hebrew גלם (gelom), meaning ‘to embody’ or ‘personify.’ While there is little to directly connect these words to the Wild Pigs this Square brings visions of, the appearance of the word DIMONAS in the third column and row makes it apparent that this is a square relating to demonic power, and what is therefore figured to be ‘holy’ to such beings is that which is unclean, taboo or forbidden which, in the Hebrew tradition, the pig was perhaps the ultimate ‘embodiment’ of.

In the original text of the LBW, the words in the sixth row and column were shortened to IAGUA and ITAGUA respectively and have therefore been amended to ITAGUTA to make an even square. Read backwards, the word IAGUA, becomes AUGAI, which may refer to the Greek nymph Αυγή (Auge, also written Augai), whose name means ‘dawn’ and also the word Αυγό (augo), meaning ‘egg.’ The concept of ‘dawn’ and ‘eggs’ are connected in the concept of the Augoeides which is made up of a combination of either αυγό or αυγή and the term είδηση (eidese), meaning ‘word,’ ‘message’ or ‘intelligence.’ This concept is related to the myth of Phanes, the light bringer, bursting forth from the Cosmic Egg after the coils of the great serpent crack it open and release his light into the nascent cosmos.

The Vision

A rainbow appeared which I followed the downwards arc of from the sky to a patch of yellow grass at its base. On arriving at the grass patch I smoothed it and patted it down with my hands and revealed the end of a pipe with a circular, metal-barred vent over it through which great waves of air protruded, which I perceived came from a great engine under the Earth. I discovered, however, that it came from the sea cutting away into great caves beneath the Earth as it crashed into them which produced billows of air that spouted up through the land. I pulled the vent free from the end of the pipe and squeezed myself headfirst into the narrow, tube-like shaft. The pipe sucked me through it very quickly so that I soon shot free from its other end, which protruded from the cliff face, and flew—like a ball shot from a cannon—far from the cliffs and into the water.

Bobbing in the ocean, I beheld blue waters and skies and yachts with sails of brilliant white in the distance. One of these headed towards me and I saw that it was being steered by a being that was half pig and half human and wearing a blue sailor’s outfit. As he reached me, I climbed aboard and saw his face to have a dirty, unclean look about it, yet its voice was cultured and intelligent as it hauled me aboard. Once I was inside I noticed that dead, naked human bodies littered the deck giving off a smell that was like that of a butcher’s shop. ‘Don’t worry, you’re quite, quite safe,’ the sailor-pig commented, though I felt a silent unease coming over me. During the voyage I could feel myself transforming into a pig-human hybrid, but when I checked down at my immaterial body I could see no changes in it. Then I noticed that the human bodies on the ship had various porcine elements to them, as though they had boarded the ship and transformed into such things in the same way that I perceived myself to be changing my form.

We sailed for a short time then came to an island where other yachts were coming ashore. With me following close behind, the sailor-pig announced to his fellows that he had ‘caught another one trying to cross the sea.’ He continued that I hadn’t got very far at all and the others mocked me for only getting such a short distance into the waters before getting caught. Coming inland I saw that while the island was rather idyllic, the desiccated skins of several human beings hung out to dry on a horizontal cord about twenty feet off the ground. Their bodies were long, faceless and brown in colour as though they had been left out in the sun to be dried or cured.

On turning to the pig who had captured me, he told me not to be concerned as this fate could not come to me as I had no corporeal body and could not be harmed by them. ‘See, look down at yourself,’ it said to reassure me. On doing this, I saw that my body was my own, robed as it was in the chamber in which I performed the experiment, yet it was also partially ethereal in its substance. Despite me having no solid body, the pig then asked me if he and his fellows could feast on my essence in some way, requesting that I give them something from my astral body for them to feed off. I refused and noticed them gathering closely, with threatening vampiric features. With my eyes closed, back in the real world, I perceived movement around me in the chamber during this part, as though shadows darker than the blackness generated by my eyelids were passing from behind me to in front of me in a circular motion. Here, my body felt very tight and rigid and I felt a strong trance begin to descend over me.

Back in the vision, I seemed to have no way out of this predicament when suddenly the lead pig cried out ‘Daimon, what are you doing here?’ On hearing these words I noted that a great, solar eagle was descending from the skies and swooped down to rescue me. As it flew off, I conversed with it a little, but found my real-world trance state a little too heavy to keep my concentration strong enough to make out his words. I gleaned, however, that the island was set close to the same western sea I had been somehow forbidden to cross—or had seen the souls of the dead crossing—in previous visions. I asked the eagle to lay me down in a wood on the shore of the land that I came from, and he warned me that the demonic creatures I had encountered were likely still abroad in these parts of the lands, but I informed him that this didn’t trouble me, so he set me down. The vision began to take on a looser form at this stage with various random flashes of faces and images that didn’t seem related to anything relevant, so I drew the session to a close.


The image of unclean animals on boats harks back to the vision of A Big Lake, which began with a similar projection of an object into water over a great distance, in that case being a golf ball being hit into the lake. Of potential relevance to this is the appearance of the word ATILATI in the second column and row, which has a possible origin in the Hebrew טלטלה (tilatileh), meaning ‘to hurl,’ ‘project’ or ‘shake.’  Both visions also featured a small island in their respective bodies of water that contained some kind of threat and the feeling of being encircled or watched.

A spirit revealed in this Square for the first time in the course of this experiment was Nudeton, whose name may derive from the Hebrew root נוד (nud), used to denote the wandering of an outcast or fugitive or the shaking of the head in grief.

The concepts of pigs, demons, being projected into the sea and the ‘outcast’ nature of the spirit Nudeton reveal references to Christs outcasting of Legion into a herd of swine that leap off a cliff and into the sea in Mark 5:1-20.

The manifestation of the Eagle as a Solar Daimon may bear some relation to the inclusion of the words IAGUA and AUGAI mentioned above, which may have acted as a prompt for the manifestation of a being of the same nature as the Augoeides, whose purpose was to guide and protect me from the threat of the demonic entities on the island in the midst of the great sea of death.

The Square was created with the Moon at 2º Cancer and the scrying performed with the Moon at 12º Cancer.

XXIV: Owls


Servitors: Igarag, Mara, Liriol, Lomiol, Asorega, Asmiel, Alogil, Ragaras, Ismerek, Sarasim, Sigis, Girmil, Laralos, Gesegas, Kosem, Iparkas, Erimites, Tolet, Ramoras, Ekalak, Oroia, Romages, Geloma, Ilekel, Aril, Lagasas, Kilik, Isagas, Ipakol, Amillis.

The word KIKIMIS on the outer edges of the square comes from the Ancient Greek κικυμίς (kikumis) meaning ‘a screech owl.’ The name in the central square is that of the spirit Igarag, whose name means ‘frost,’ ‘ice’ or ‘cold.’

The Vision

A small, brown owl appeared sitting alone in a dead tree in a brightly lit but desolate landscape. Sitting in the daylight was painful to it, and caused it to muster its rage at the light, making the outer shell of the sun split into two to reveal a smaller, darker sun that was concealed inside of it. Then this sun split in half too, revealing a black neutron star it which cast no light at all,. With the coming of darkness, the landscape changed to that of a graveyard set in the midst of a circular grove of thirteen dead trees, and on each of these trees perched an owl similar to the one which darkened the sun. Then a voice came from one of the owls declaring that theirs was the time in which the dead would rise to walk the earth, and then, from each of the graves rose a foul revenant. Then, beams of light emanated from each of the owls, connecting them together to form a thirteen-sided star. In its centre stood a black, vertical column with the black star sitting at its pinnacle. I panned out of this scene to see the graveyard become a circular platform which the rising column stood in the centre of giving the landscape the appearance of a spinning top or kaleidoscope. As I noticed this similarity, it began to rotate, then spun faster and faster until the individual owls and trees became an invisible blur and combined their collective image into the vision of a single owl bearing a golden crown which was flying towards me. On its arrival at the edge of the blurred, spinning world it proceeded to try to tear at my eyes and face with its beak, but could not make physical contact due to its being contained within a world that I stood beyond.

Then, the scene changed entirely and I saw the entrance to a cave lying beyond a green marsh. I sensed that there was a bear or other wild animal inside, but on getting further inside I discovered a ruined old hermit in a blue robe wearing a gold crown who was weeping inconsolably. No words came from his mouth, and it couldn’t be determined why he was so mournful. As I approached him he cast himself into a hole in the stone which formed the gullet that lay between the mouth of the cave and a belly-like cavern below. I followed him into the cave’s gut and found him lying in a pile of crowns with sharp prongs that cut into his skin causing his pain to grow worse, though in the midst of his agony he stopped for a second to adjust his crown which sat askew on his head, as if to maintain his pride. Then, as he resumed his wailing, a slew of crowns came rushing down through the stone sphincter of the gullet above us and buried him beneath them, their sharpened prongs piercing his body with a thousand more wounds.

Then the scene changed again. It was night, and all was still and calm with a fresh, sweet-scented breeze. Atop a distant hill stood a windmill, its sails gliding gently through the air, and in a window at its top sat another owl, or perhaps the same one as before. I entered through the window and saw that the owl had moved inside to sit upon a wooden beam that spanned the top of a bare room with a wooden floor. Then the owl transformed its shape into that of a golden-haired woman wearing a blue dress. She climbed down from the beam and moved to a wooden crank-handle, which she turned to cause the sails of the windmill spin with a great speed, birthing a new wind in the air which travelled at speed across the land to the graveyard encircled by trees. All was peaceful there before the wind arrived, with no signs of the risen dead, and the owls slept upon their perches. But when the wind arrived, it disturbed them from their sleep and they woke as one and seemed to grow wrathful again. And this is where the vision ended.


The Screech Owl cited in the word KIKIMIS is one of the wilderness demons of the Hebrew tradition and an alternative Hebrew name for an owl is a ‘Lilith’ or a ‘night spirit.’ Their desire for darkness and apocalypse reflects their averse nature and their reverting to the form of a single owl after being separated into thirteen separate ones may reflect the numeration of the Hebrew word אחד (achad) – ‘unity.’

The name Erimities present in the square comes from the Greek ἐρημίτης (eremites), meaning ‘hermit.’ This appeared to relate to the appearance of the weeping old man who dwelt within the cave. His blue robe and gold crown are consistent with the colour scheme I’ve noted in previous spirit-work, which also manifested again in the female entity who appeared in the windmill with her blue dress and golden hair.

The servitor Iparkas might be related to the Livre des Esperitz spirit Parcas, known as Partas in the Book of Offices and Foras or Forcase in the Lemegeton. This spirit comes in the form of a fierce bear, a creature I thought I detected the presence of in the cave. He also reveals the location of hidden treasures which may account for the cavern full of golden crowns.

The square was constructed with the Moon at 16º Libra with the sound of owls filling the midnight air, and was performed with the Moon at 17º Scorpio.

XXII: A Wild Cat


dante leopard


Servitors: Isagas, Mara, Liriol, Losimon, Lomiol, Alogil, Ragaras, Irminon, Sarasim, Ogologon, Igilon, Sigis, Apolion, Girmil, Gorilon, Laralos, Milon, Nasi, Morilon, Ramoras, Igarag, Aril, Lagasas, Alpas, Romoron, Nagar, Amillis

The word LINIROS on the outer edges of the square possibly from Latin linire – ‘to daub,’ ‘smear’ or ‘anoint,’ or from the Greek λοιμικος (loimikos) – ‘pestiferous.’ The word in the central square derives from the name of the spirit Isagas, which means ‘roar,’ ‘shout’ or ‘yell.’

The Vision

I was in a wilderness of patchy, dry grassland where I followed a plastic, yellow pipe along the ground until it sunk into the earth at a certain place. I believed it to be a power supply of some kind but decided against pulling it up from the earth due to a sense that there was something dangerous concealed there. A little further along, amidst a sudden shock of long, yellowing grass, the pipe re-surfaced and continued winding towards where the silhouette of a distant city to the west which had a prominent domed building at its centre.

My journey to the city was interrupted by a leopard bounding through the long grass before me. It stopped and bade me to come with it, as if it knew exactly who I was and expected me to be equally familiar with it in return. I followed it back to the place where the pipe went underground where it prompted me to open a concealed doorway. On doing this, I found a pit filled with vultures, boars, corvids and other ‘unclean’ animals, who proceeded to escape once the hatch of their pit was opened. On entering the empty space at the leopard’s behest, I found the place to be full of excrement like the outhouse I had refused to enter in the vision of Wild Animals. Apart from that, it looked somewhat like a bunker of some sort and there was a clock on the wall with the hour and minute hands stuck at 5:02 while the second hand was stuck at the 34th second. The walls that flanked the clock were decorated by wallpaper with a pattern upon it that consisted of hundreds of flies; and there was a camphorwood chest in the centre of the room in which lay a bundle of pornographic magazines which, like the general décor of the place, all appeared to be from the 1970s.

At this point, the leopard transformed into a woman with golden skin with black blotches over it, and I entered into a conversation with her. At my request, she stated that her name was Raminiel and that she was my natal daemon. She had manifested on Earth, she said, at the moment of my conception, and the place in which we now stood was a symbolic representation of my mother’s womb during my gestation. Curious about this claim, I asked her what the date was in this place and she replied that the sun was at 26º Gemini. Then I asked for confirmation of where the Moon was, and she replied that it was at 18º Aries.

Following this, she explained that the animals we had released were the creatures of the wilderness which the folk of the distant city feared and sought to keep away. By releasing them we had let out a necessary force of fear and freedom into the world as keeping them locked up was unnatural and cruel and nurtured a state of false security. She explained that none of the animals would enter the city or do any harm as that was not their nature, and they would instead remain at its peripheries, forming a circle around it and keeping watch on it from beyond. Then I noticed two yellow snakes which had not escaped the pit slithering along the floor and saw that they had the heads of jays. Then a dog and a pig appeared, both of which were very friendly. The leopard woman told me they were two familiar spirits she had granted me in order to assist her in her work of looking after me. With that, I said farewell to her and she responded with the word ‘taho’ and the vision ended.


Considering the natal theme of this vision, the yellow pipe or cable I was following at the beginning probably represented the umbilical cord. I sensed it was carrying energy of some kind, and it appeared to have been the lifeline cast to the animals who had been trapped in the ‘womb.’ When the animals escaped they preceded to encircle the distant city, staying at its peripheries in the same manner that the Shedim of Hebrew mythology did, and just like those creatures, these beasts were all ‘unclean.’ The circle they spread out into once again echoes the circle of spirits I have seen watching me, except in this incidence it was the city in the distance they spied upon. My guess is that the city represented my psyche in some way which I was witnessing from a place remote from it in both time and space. As well as representing a womb, the wilderness with the wild beasts buried beneath its surface may also be seen as a representation of the unconscious. Their escape also somewhat resembled the releasing of the legion of spiders that took place in the very first vision, which was that of A Beautiful Lawn.

The name Raminiel seems likely to be related to the word RAMACAN in the square. This may come from רעמה – Ramah – ‘mane’ with the daemon possibly being the manifestation of the ‘mane’ of the lion from the previous square and therefore an emanation from it. A spirit with the appearance of a Leopard also came in the vision of A Big Lake, in which it delivered me instructions regarding the correct way to pay ritual homage to the Elemental King Egin who rules the North. This rite was performed, now with the devil-headed cup and a bespoke incense recipe including some home-made Onycha delivered during ongoing ritual communications with Egin and one of his servants on the day before the leopard reappeared in this vision.

The time the clock was stuck at, 5:02 and 34 seconds, may have two Qabbalistic correspondences. 502 is the number related to the Hebrew word בשר which means ‘to tell glad tidings’ and also ‘flesh’ and ‘body’ suggesting aspects of incarnation. The first of these meanings relates to a phrase associated with the birth of Christ spoken by Gabriel, while 34 is the numerical value of גלא ‘to reveal.’ The distinct 70’s feel of the vision coupled with the spirit’s explanation of what the place represented and the reported position of the Sun at 26º Gemini corresponded roughly with the week I would have been conceived in June 1976, with the Sun being at theat position on June 16th of that year. The Moon was not at 18º Aries that day, however it was four to five days later at the moment of the Summer Solstice when the Sun entered the Northern Sign of Cancer. While the matchup here isn’t perfect, it is close and a magical mystery connecting my birth and the Northern Solstice may be hinted at therein.

An alternative theory of the time on the clock is that its figure 5 + 02 + 3 + 4 = 14, which is not only the Gematric value of my name but is also a formula of the ‘Gold’ of the HGA.

The word Taho which the leopard-woman spoke instead of ‘goodbye’ may be a rendering of the Hebrew תהו (tahu) which refers to ‘wastefulness.’ For reasons yet uncovered, this reiterates the meaning of the word בזבז – (bizbez), meaning ‘to go to waste’ or ‘spent,’ that was received from the Lion-Angel at the end of the previous vision.

Of additional note in this square is the appearance of the name of the Lemegeton spirit Ipos in the second row. Notably, this spirit appears with the head of a lion and is described as being ‘even more obscure and filthie than a lion’ in the Pseudomonarchia Daemonum.

The square was created with the Moon at 2º Cancer and the vision was experienced when the Moon was at 13º Cancer.

XV: A Mountain

four kings


Servitors: Asorega, Mara, Liriol, Losimon, Lomiol, Alogil, Ragaras, Irminon, Sarasim, Ogologon, Igilon, Sigis, Gorilon, Laralos, Gesegas, Kosem, Milon, Nasi, Morilon, Ramoras, Igarag, Ekalak, Geloma, Aril, Ilekel, Lagasas, Kilik, Kokolon, Isagas, Romoron, Negen, Nolom, Nagar.

KEKASIM appears to come from Hebrew קסם (qesem), ‘magic’ at the top and right, while in MISAGER there lies the possibility of the reversal of the Hebrew רגש (regas), meaning ‘tumult,’ ‘commotion,’ ‘noise,’ ‘emotion,’ making the word REGASIM when affixed with the collectivised suffix –im. The spirit name in the central cross is that of Asorega, coming from סריג (soreg) relating to the ‘boundary wall’ that came in the form of a fence of reticulated or weaved sticks that closed the inner Temple of the Hebrews off from Gentiles or the ritually impure. The meaning of this word is the same as that of the Hebrew for ‘grid,’ ‘grill’ or ‘grate,’ which may account for the ‘grid’ pattern evident in the squares. ELISONI resembles the Greek ἐλέησον (eleison), which denotes the quality of ‘mercy.’

The Vision

The mountain revealed itself as the same high, snowy peak I saw in the vision of A Snow. What was left of my old body lay contained by the clothes I was wearing. From one of the pockets, I pulled a golden talisman that resembled an Ankh, the strap of which was like the wings of an angel, while the face of a cherub or female angel lay in the cross’s interection. I pushed the remains of the body into a narrow hole it had been lying over, sending it plummeting down a narrow shaft into the roots of the mountain. Looking down, I could see a deep, blue, light glowing far below and considered exploring it, but decided against it because of how narrow it was. Looking around the vista, I could see the bluish mountains that the previous vision of A Castle on a Mountain was set in far away to the south, and beyond it was the Lake. Looking around at the landscape I asked what the name of this strange land was and received an answer from a disembodied voice which gave an answer that sounded like Kariouna. After hearing this name, I flew into a pall of clouds that lay before me in the west and rose above them before coming to rest on a much higher peak. Only a small portion of this peak was visible above the clouds, but all was cloudless and blue in that highest place.

Then I became aware of the presence of a spirit floating in the air before me in the east, its face skull-like with the remnants of its flesh flapping in the wind, while its strands of thin hair and its ragged black cloak billowed similarly. Then another three spirits identical in appearance to the first came from the other three cardinal directions. With me in the centre, they locked their hands together around me and flew me high into the sky with them. It was explained that these high airs were their dwelling place, and they were taking me up so that I can see all of the Earth below me, revolving as they flew. When they finished moving, they told me that they were intermediaries between that which was celestial and that which was not, and each of them ruled a portion of the world and governed the boundaries between the above and the below—microcosm and macrocosm—giving power over the elements in the material or external world while granting gnosis of the spiritual or internal world.

After they explained this, I saw one of them appear with the face of a lion, but the veils the others wore were not put aside in this way. The one with the lion face informed me that the golden, angel ankh I had been given was also a dagger and instructed me to pull it out, which I did to find a short, tapering, razor-sharp blade sliding free of its golden scabbard. Then I was told that this tool was the means to ‘unlock’ the four spirits as it was also a key which should be borne to obtain their favour and that of all of the spirits under their sway. With their consent, I inserted the dagger into each of their bodies and turned it, beginning with the one in the east, then the ones in the north, west and south.

Then I was back on the ground and the Four Great Spirits were gone. I went back to the spot lower down where I had pushed my old corpse into the heart of the mountain and decided to descend to see what was down there. Once I had reached the bottom I saw that the blue light I had seen emanating from its depths came from a beautiful lagoon lit by rays of bright sunlight burning down from above. On the shore of the underground pool lay a rowing boat which, having nowhere else to go, I boarded and began to row. As I approached the centre of the small lake, a maelstrom appeared and sucked my boat into it, casting me onto the wet floor of a cave far below where the boat was smashed to pieces but I somehow remained unhurt. Then I left the cave through a fissure in the rock to find a car waiting for me outside, which I entered and drove away in.


In this vision, the nexus of ‘above’ and ‘below’ could be thought of as the same kind of ‘boundary’ suggested in the name of the spirit Asorega. The mountain or high place as the terrestrial location where the boundaries between worlds are notoriously thin and permeable is long established, with connections between mountains and ‘peak-numinosity’ being well attested as the space where the celestial and earthly realms intersect across the spectrum of the world’s myths and religions. These are evident in the experiences of Moses on Mount Sinai, of Christ at the high place Satan showed him the vision of the four corners of the Earth (and later the Mount of Transfiguration and Golgotha), in the ascent made to high places such as Gorsedd Arberth in order to enter the Otherworld in the Mabinogion, in the depictions of Mount Olympus and Mount Zaphon as the abodes of the gods in Greek and Canaanite myth and in the figurative Mountain of the Adepts, Mount Abiegni, in the Thelemic and Rosicrucian traditions.

By virtue of their revelations and cardinal attributions, the four spirits I conversed with were probably the Four Kings—Oriens, Amaymon, Paymon and Egyn—whose presence has been hinted at in many of the previous visions, with the most overt being that of Oriens in the vision of Farm Buildings, though they were also represented by four beams of light in the vision of A Castle on a Mountain. In concurrence with that vision, only one of those spirits spoke and revealed more of itself, being the one in the East, Oriens.

The name Kariouna I received, which was that given to the world I was looking upon, may have its origins in the Ancient Greek κάρυον (karyon), meaning ‘head.’ This backs up a notion I had during the vision of Wild Animals where I had the sense, from the hemispheric nature of the amphitheatre, that I was in communication with some aspect of my brain. Together, these visions suggest that this astral world I have been exploring is a product of my mind and therefore of my brain. This is certainly the case to an extent with magical tools such as scrying and astral travel and is not something I would seek to dispute. What is interesting about such experiences however is the way that certain images, words and symbols take shape in the mind, suggesting that some kind of deep-level communication is taking place, either with extraneous spiritual entities or with some impersonal and unfathomable part of the psyche which possesses the same kind of preternatural that extraneous entities or daemons would. The argument about which of the two these and other magical phenomena can be attributed to is ultimately moot and will never be one that all practitioners agree upon, but my experience with such things leads me to believe that this sort of ‘astral’ work takes place on the threshold; the intersection of what is self and what is not-self. It is self-communication, yes, but it also takes place both at and beyond the borders of self, in a liminal area where other intelligences have influence over the contents of the unconscious mind which in turn comes to present awareness through the media of the personal psyche.

That the answer κάρυον, ‘head,’ I was given to my question about the nature of this world came in an ancient language I have no great knowledge of, while others have come in Hebrew and Latin or Kabbalistic, mythological or other symbolic correspondences, appears to provide proof that it is not just ourselves we are communicating with when we work with such things. Nor can it be some unexplainable process of depth-psychology that is being experienced unless such unaccountable knowledge can be said to be intrinsic to one’s psyche through theoretical constructs such as the collective unconscious or morphic fields. Ultimately then, I would postulate that the ‘liminal’ space such experiences take place in is that of the intersection between self and not-self and represents the same kind of boundary or veil between one ‘realm’ and another—one worldly and functional, the other invisible and mysterious—that the name Asorega and the Soreg stone of the ancient Jewish Temple represent.

Aside from the words and names already explored above, names with some relevance to this vision include: Sarasim, meaning ‘deep roots’ which relates to the deep cavern beneath the mountain; Mara, whose name relates to caves and grottoes and therefore ties in with the ‘deep roots’ of Sarasim; Nagar, meaning ‘fluid’ or ‘liquid,’ which relates to the lagoon in that grotto; Igarag, whose name pertains to the frost and cold associated with the upper reaches of the mountain; and Nolom, from the Hebrew נעלם (nolom) meaning ‘hidden’ or ‘concealed.’

XIII: Farm Buildings


XIII Farm Buildings

Servitors: Ugesor, Peresh, Asorega, Saraph, Ragaras, Parusur, Alluph, Nogah, Alagas, Ogologon, Adon, Laralos, Gesegas, Aherom, Helel, Ramoras, Holop, Romages, Geloma, Lagasas, Alpas, Romoron, Negen, Nolom, Nagar.

The word at the outer edges of the square, MELUNAH, comes from the Hebrew מלונה (melunah), meaning ‘doghouse’ or ‘kennel.’ The word in the central cross derives from the name of the spirit Ugesor, which may come from the Hebrew גשר (gesor), meaning ‘bridge.’

The Vision

A field being furrowed by an old-fashioned plough appeared. Alongside it was an old Land Rover with an ‘R’ suffix in its licence plate. When they reached the edge of the field they headed into a large barn, the door of which closed behind them and were locked shut with a padlock and chain. Moving away from the barn, I moved towards a central courtyard of a farm that I recognised as one I spent much time on with my Aunt and Uncle as a child, though the buildings that surrounded it were not the same.

The first building was the locked barn I had left behind me. The second, to my left, was a chicken coop. Going clockwise from there, the third building consisted of a barred door which a German Shepherd stood behind. It had the appearance of a guard dog, but cried in excitement when it saw me, as though I were known to it. The fourth place, in front of me, was a house, the door of which was open and revealed a seductive woman hiding in the shadows inside. The fifth was a pen containing many cows and the sixth, to my right, was a church with a great shining cross glowing through its doorway. The seventh and final building, which was positioned behind me and just to the right of the barn, was a long, single-storeyed hall that was thick with shadows inside. This was the building I decided to enter.

Once I was inside, the door slammed shut behind me and I saw a table that almost ran the length of the hall. It was covered with a feast, with the most prominent food being the bunches of grapes that lay either side of a single candle, which was the room’s only source of light. I sat at the table, but before I could decide whether I wished to eat any of the food provided, a rasping female voice filled the darkness.

‘It’s interesting that you come here, to the only place where you didn’t know what lay inside,’ it said. ‘This is why you are suitable for this purpose.’ It proceeded to speak of many things with me, both asking questions and giving guidance, and I felt a sense of snakes crawling all over the floor whenever I spoke back to her.

Then, the bearer of the voice told me to take the candle that lay on the table, as it would be my only guide in the world of darkness ahead. First however, I had to burn my hand with its flame to prove my courage. As a point of synchronicity, there really was a single candle on a table before me in the ‘real’ world in which I sat in a chair performing this work, so, in both the astral and material planes, I picked up a candle with my left hand and slowly passed my right hand through it three times making the hair on the side of my hand burn. The smell created by that burning, the spirit told me, made an effective fumigation that would be suitable as an offering to spirits of an infernal nature, as would the smell of burning flesh. One of the questions it asked was why I didn’t descend into the spiral staircase ‘they’ had shown me in the vision of the Wild Animals. I answered that I had to wade through enough shit in my mundane life every day so didn’t wish to further taint myself needlessly. She told me that the filth of the material world was nothing to be concerned about as it could be washed away with ease and did not affect you once it was gone. The filth of the spiritual kind, however, was indelible and made one grow darker and more stained with every contact with it and nothing in existence could remove it.

The voice, though female, was deep and rasping, and I felt a large python winding its way up my right leg as she spoke again. Then she asked me to burn my hand again, and this time until I felt a degree of pain. I did this by placing my hand about six inches above the flame, where I left it for a few moments until I whipped it away.

‘One day,’ the voice spoke, ‘when your tolerance to fire becomes great enough, you will willingly set your whole body aflame to obtain what we offer. You would burn yourself into nothing to attain it, and in doing so you would become one with the infinite and know all the secrets that lie hidden in the great darkness.’

Then, in an instant, I found myself within the church I had seen in the western quarter of the farm’s courtyard. Inside, a black woman with short hair and wearing a silk garb the colour of lapis lazuli was leaning over a wooden rail near the altar and reaching to retrieve something from a bag. After a few seconds, she pulled out an egg and hurled it to the floor. A baby snake wriggled in its ruin, with the splattered albumen being the colour of blood. The black woman then turned to me and said ‘stamp on it!’ I refused and she asked me why with anger and annoyance in her tone. I stated that I believed the serpent was sacred, representing healing and wisdom and was the symbol and means for our path to gnosis. As I said this I noticed that there was a huge white statue behind the altar rail and the sun from a window to the east of the church was shining on its face to form a letter ‘T’ over its brow and nose. The woman, regarding the statue said that as I was in the church of He Who Trod The Snake Underfoot, it was my duty to do him honour and stamp on the snake. Again I refused and saw that the rest of the body’s statue took the form of a great giant with its sandalled foot crushing the head of a large serpent. The woman then fled from the church laughing maniacally and telling me I would regret my disobedience.

After she left, I noticed that the T-shaped shaft of sunlight came from a window of the same form high above. I stood in the centre of a circular chamber at the church’s centre and let the letter fall upon my face. Then, the letters I, S, A and S all beamed through another four windows spaced equidistantly around the dome that encircled the roof, with an equal amount of sunlight shining through each. All of the beams that came from these letters shone at once upon my face, writing the word TISAS on me, each letter merging into a single mass of sunlight. With the light blinding me, another female voice spoke, demanding that I place my candle down in the east before her and burn some item close at hand in its flame as an offering to her. This I did, and she instantly gave me some of her teachings though I can’t reveal more of the what she taught me here. Following her tutorage, a chorus of spirits danced and chanted lines the main female spirit prompted them to repeat in the church’s undercroft before I exited into sunlight to see a brief vision of a Magpie and a Swift before the vision came to an end.


The volume of information coming from this Square was copious, possibly due to its containing the names of twenty-six different spirits. The most dominant voice was that of a powerful female spirit, which appeared consistent throughout but grew significantly stronger when the five-lettered beam of sunlight shone through the church windows to illuminate my face. The word given in this part, TISAS, appears to form the outer edges of a new word square, with the name SIGIS fitting quite naturally into the central cross. Considering the appearance of dancing, chanting spirits in the church’s crypt after the appearance of these letters, it is possible that TISAS may derive from the Ancient Greek θίασος (thiasos) and the Latin derivation thiasus which denotes a congregation of singers and dancers gathered together in celebration.


A mild synchronicity occurred after the vision, which ended with images of a Magpie and a Swift, when I hit the shuffle button on my music player to find the song Black Swift coming on.

At the beginning of the vision, an old Land Rover with an ‘R’ suffix appeared. In the UK, vehicles with this suffix would have been registered new between September 1976 and August 1977, which was the period in which I was born.

The appearance of the word Melunah in the square is interesting because the spirit who appeared as a horse in the previous vision gave its name as Melenhor, which was also the name of an old familiar of mine who I previously recalled demanding a human or animal bone to dwell within while it was in my service. It wasn’t until I began the preparatory work for this square the day after working with the one which caused Paddocks and Fields to be seen that I put this connection together. Melenhor’s name would therefore appear to be a derivation of this word which, meaning ‘kennel’ is relevant to a vision in which hunting dogs were prominent and is also befitting of a vision in which the images of farm buildings are evoked. A solitary dog appeared in the vision, but it seemed to bear no relation to the hunting hounds that appeared in the visual content of the previous square.

The interpretations I made of the meanings of the prominent names and words of the square didn’t seem to express themselves very overtly, with the dog kennel appearing only briefly and no real connection to the word ‘bridge’ appearing at all. Of the new names that appeared in this square, the following meanings may be attributed.

Holop – חלוף (cholup) – ‘transitory,’ ‘ephemeral.’
Alagas – Possible derivation of λαγάς (lagas) – ‘a hare hunter.’ See tags for Lagasas.
Alluph – אלוף (alup) – ‘domestication.’
Nogah/Nagar – נגר (nogar) – ‘fluid,’ ‘liquid,’ ‘flowing.’
Nolom – נעלם (nolom) – ‘unknown,’ ‘hidden,’ ‘disappeared.’
Parasur – Possibly from the Latin paras meaning ‘to provide.’ May also originate from פרס (peras) – ‘reward,’ ‘prize.’
Peresh – פרש (peresh) – ‘horseman,’ ‘knight,’ ‘rider.’ Also possibly of the same origins as the above, Parasur.

X. A Vineyard



Servitors: Ragaras, Laralos, Gesegas, Ekalak, Lagasas.

The word at the outer edge of the square, SOREK, comes from the Hebrew שורק (soreq), which means ‘a vine,’ and was also the name of the valley in which the biblical Delilah lived (Judges 16:4). The central cross is formed from the name of the spirit Ragaras, which may come from the Hebrew רגע (raga’a), ‘break,’ ‘disturb.’

The Vision

The first image that came was of a dark red-brown heart surrounded by darkness. My form appeared, which was just as black as the surrounding pitch, and I saw that I was carrying the heart over my shoulder as if it were a shoulder bag with a string attached. Then I realised I was in a cave and could hear the sound of dripping water and could smell the earthy dampness of the stones that encased me. On seeing an aperture in the ceiling of a cave I set my intent on reaching it and saw a rope ladder descend from it, which I climbed. At the surface I saw a lush and leafy landscape, though the earth around the vegetation was rough and rocky. In the distance was the lake I have seen in previous descended from the promontory I was stood upon, and I sensed that the tree with the dragon in it was nearby too though couldn’t see it. I looked at myself and saw that I was wearing black robes and thought for a moment that I was the monk who had been struck by lightning in the previous vision, but unlike him I was wearing a hood and the skies above me were blue with no sign of any coming storm.

Moving across the landscape, my attention was drawn to the heart I was carrying over my shoulder. I considered eating it but saw that it was aged, tough-looking and falling apart with decay. It was split all along one side which I prized apart with my fingers to pull out something that looked like an avocado stone. This too, was corrupted by time and age so I pulled that apart too, then discarded the heart onto the ground. From the stone, a beautiful butterfly with wings that sparkled with sunlight emerged, as though from a cocoon. In wonder, I followed it, knowing it was leading me somewhere I had to go. In an instant I was there. A small grotto with a waterfall shrouded in thick vines. Drawing them to one side I entered a small cave in which a woman stood. She was surrounded with red and white grapes and was pressing the white ones into wine with her feet. She gestured at a bowl full of red grapes on the floor next to her and bade me to join in with her. I pressed the grapes with my feet until all that was left of them was liquid and mulch. Then, looking at the mulch in a big, congealed pile, I couldn’t help noticing how much it looked like a heart. I picked it up and looked at it and saw that it definitely was a heart, so slung it over my shoulder to replace the old one I had discarded. The woman then spoke to me, but I couldn’t comprehend anything she said as her speech was that of birds. Then, as in the first cave, a shaft of light appeared in the roof and I ascended through it and found myself on yet another small hill with the lush and leafy landscape surrounding me.

I headed towards the edge of the lake, where the skies were growing dark. The sun, I noticed, was undergoing an eclipse. I sensed that, like in the vision of A Snow, a sacrifice had to be made to the moon, so I took the new heart I had been given, climbed to the highest part of the cliff via another rope ladder with the cry of a nightjar filling the air as I climbed, then laid the heart on the floor as an offering, and realising I no longer had a heart, took the stone I had retrieved out of the old one and slotted it into a hole in my chest. As I departed the place of sacrifice, I was aware that many dark spirits were feasting on the heart. As this occurred, I had a strong sense that there were also lots of miniature black clouds dancing all over the square that I held I my hand in the ‘real world.’ In sacrificing to the moon, I understood that I was sacrificing to the spirits under its influence, the sub-lunar spirits, and they would reward me greatly for doing so. After noticing this, I saw a bright and golden angel standing before me. It looked at me, shook its head sadly and played a sad chord on a lyre. I asked it for its name and it replied that it was called Keranda. Then I asked for it to reveal its nature to me and it responded by ripping its chest wide open to reveal its true form. It had a red body, as though scalded by boiling water and a long neck with a horse’s head sitting atop of it. In the cavity of its chest was a flaming wheel where its heart should be. Its inner edges were lined with tongues of flame that made the wheel resemble the maw of a shark from the viewpoint of its victim, or of the tongues of flame that surround the outer edge of the wheel that Shiva dances in, only inverted, appearing on the inside of the wheel. In the centre of the wheel was a Chi Rho upon which a naked, bearded man was affixed, his limbs aligned with the ‘X’ of the Chi.

As he stood there with his burning heart exposed, the ‘angel’ spoke, telling me that the wheel represented desire and that it was the ‘ordinary man’ who was impaled upon it. By sacrificing my new heart and replacing it with the remains of the stone from the old one, I had undone its work. It told me that this sacrifice had been a mistake as although the spirits who received it would indeed be glad and grateful and repay me efficaciously, it was angered by my action. The butterfly inside my old heart, he said, was a manifestation of his light but having set it free and sacrificed the new heart it had led me too, I would now have to rebuild it anew. With that explanation, the angel was gone and I felt like the entire world was spinning on a great axis in the same way that the angels fiery heart had.

I looked over to the landscape I had ascended out of and realised it was all part of the underworld. The lake, the tree, the caves, the waterfalls. Everything of the past few visions had been the same chthonic place. Then I saw the land, all set between two high plateaus, becoming healed, with the mighty cleft being filled in with earth with sweet grass growing over it until the landscape became the same one that I had seen in the vision of A Beautiful Lawn and A Rose Garden. As I contemplated the world above again, the words ‘and Death shall have no dominion,’ formed in my mind. Then the image of a constellation shaped like a lobster appeared in the sky close to where I saw the eclipse. The moon was there alone now, for it was night and the constellations were bright, though it had not reached it yet. Then a fiery lion appeared briefly, and finally, beneath the Earth, I sensed the image of the dragon, now asleep, with the tip of its tail resting in its mouth.

The ‘angel,’ Keranda may have derived its name from Hebrew חרד (kharad), ‘anxious,’ ‘fearful,’ ‘to treble or quake,’ ‘to drive in terror,’ ‘afraid,’ ‘in awe,’ which also features in the square under the name KERAD or KERADA. Alternatively, considering the context, it may be related to the Greek καρδία (kardia), ‘heart.’ The name of the poem it seemed to quote, And Death Shall have no Dominion, is one I am minimally familiar with, having heard it being recited once, but I had never actually read it. It’s possible that an unconscious memory of it was grasped upon at the imagery of the man fixed to a wheel due to the poem’s lines ‘twisting on racks when sinews give way, strapped to a wheel.’ This is also the case with the legend of Ixion, which I was familiar with, though his being the father of Centaurus who shares a degree of similarity in his nature to the spirit Barbatos is of note as I have renewed an old relationship with this spirit recently. Just as Orpheus played a lyre to sooth Ixion’s suffering for a while, so too did the angel strum a lyre, establishing some further archetypal link to the legends of Ixion and Centaurus. The lightning that struck a monk dead in the vision of A Grape or Grape Plant may represent the fate of Ixion, whom Zeus eventually struck down with a thunderbolt. The name of Ixion (Ἰξίων) is of unknown origin but possibly comes from ἱκέτης (iketos), ‘suppliant,’ possibly due to his being the first murderer who would have then had to beg Zeus for mercy. Zeus granted him entry to Olympus by purifying him, but later sentenced him to an eternity on a flaming wheel due to his desire to seduce Hera. He is equated to the first murderer Qayin here, whose name is reflected in the Lemegeton in the form of the spirit Raum, who is called Kayne and has the form of a Raven, a bird with whom Qayin shares some folkloric qualities. Centaurus, the progeny of the mating of Ixion and the cloud, spawned the race of Centaurs after mating with the mules of Mount Pelion, where he exiled himself away from civilisation.

The lobster may have represented the sign of Scorpio, which it has sometimes been depicted as, with its claws, or those of the Scorpion, actually being the sign of Libra. With the vision of A Big Lake seeming to inform me of the importance of the north solstice to some kind of ritual offering I should perform, I checked the position of the moon out at the time of the solstice and found that it would be a waxing first-quarter, close to half, in the sign of Libra. While the phase doesn’t fit with that which I saw in this or the vision of the Lake, the fact that it is in Libra at this time—the sign which precedes Scorpio—may have been a confirmation that some rite should take place at this time. The eclipse suggests this rite should have both solar and lunar significance.

The only spirit name that appears in the square that has not already been covered elsewhere is Ekalak, whose name may derive from the Hebrew חלק (khelaq), meaning ‘portion,’ ‘part,’ ‘lot,’ ‘share,’ ‘fragment.’