XXXVIII: Rabbits

Centaur Hunting Rabbit


Servitors: Nagar, Negen, Mara, Igarag.

The word on the outer edges of the Square, ARNEB, comes from the Hebrew ארנב (arneb), ‘rabbit.’ The spirit name evident in the Central Cross can be interpreted as either that of Nagar or Negen, though the perfect use of palindromes throughout this Square suggests the that the letters NAG, representing Nagar, are the most meaningful. Nagar’s name derives from the Hebrew נגר (nagar) denoting ‘liquid’ or ‘flowing,’ while Negen derives from נגן (negen) meaning ‘a musician.’ RIAME may be a derivative of ראים (raim), meaning ‘seeing’ and has a connotation linked with mirrors, scrying and visions.

The Vision

I saw a white rabbit, more suitable as a family pet than a wild animal, alone in a wood. Knowing that predators were after it, it sniffed the air and grew afraid. It dug a hole in the ground to hide and made its way into a warren where other rabbits told it that it needed to change its skin if it wanted to survive. These words of advice were followed by what looked like a great mound of white flesh being ripped open by a grotesque, yawning wound from which no blood flowed, as though it was the flesh of a corpse. From inside the pale, fleshy mass, a pallid face was visible which had milky-white, lidless eyes. The torn flesh that surrounded the head of this being enveloped its chin and scalp like a grotesque helmet before changing its appearance to that of a gaping shark. The figure that wore this apparel around its head then stood to its full length, its mouth by the lower jaw of the shark’s head and said ‘I am your nature’ to me in a whispering voice, and communicated that it was a god of the sea. It then towered up above me and, looking up, I saw the inside of the shark’s mouth, its rows of vicious teeth lining the inside of its skull like thousands of rows of white stalactites in a cave.

Then I was standing in the wood again and before me was a centaur. Gesturing to the ground it said to me ‘shall we get that thing out of there?’ and I agreed that we should. It then caused a small explosion on the forest floor and revealed something akin to an underground laboratory rather than the warrens that the rabbit had fled into in the space below the earth. The place was old-fashioned and ruined and bundles of loose wires were strewn from the archaic machinery that furnished the lab. I asked the centaur if it could fix the place and it said that it could and after a short delay filled with strange, disconnected visions—which included me looking into the lens of a pair of mirrored sunglasses and seeing someone else’s reflection looking back at me—the centaur announced that the equipment was now in working order. All over the floor were scores of small robots, which proceeded to flicker into life with LEDs flashing and with gaits like those of clockwork toys as they walked. The spirit prompted me to command the toy robots out into the world and give them a task to accomplish. This I did, and once this was done, I found myself standing behind a tall man in a hotel lobby whose presence was causing great fear to the guests and staff there, and some sort of havoc started to be broken loose just as the vision ended.


Like the previous experiment, there was something hidden beneath the forest floor in this vision. This time however, the lifeless automatons that were there were brought to life with the assistance of a greater spirit, who, considering his appearance as a centaur in the woods, may have represented the Lemegeton spirit Barbatos. The loosing of the robots found in the underground laboratory was akin to the releasing of many spiders from a cleft in the Earth in the first of these experiments, which gave visions of A Beautiful Lawn. The appearance of a shark-like spirit was similar to the monstrous water spirit that appeared in the visions of A Vineyard and Peacocks. That this foul-looking monster was submerged in flesh and said ‘I am your nature’ on being released from it may be of some kind of significance. Also significant was the assisting spirit asking me if we should ‘get that thing out of there,’ which may have been a form of exorcism ridding me of a parasitic entity or emotion. The fixing of broken machinery inside an underground lair may have referred to inner processes of the mind or brain and the coming to life and sending forth of small robots may have been the releasing of a magical force designed to assist with a specific worldly objective. The underground machinery and clockwork motions connected with it is also reminiscent of some of the events seen in the vision of A Village.

The Square was constructed with the Moon at 5º Scorpio and scried with the Moon at 14º Scorpio. Notably, this is a malefic water sign.

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.

XXXI: Buffaloes

Ocean Waves


Servitors: Mara, Asorega, Fasma, Fosfora, Laralos, Ramoras, Moreh (Morel).

This Square appears to have been highly corrupted, with the bottom line originally being missing, but here reconstructed, and the top line initially reading FUFALOS. With ‘Buffalo’ being a word of Latin origin, it is perfectly acceptable to have this word as that at the outer edges of the Square. The central cross is also corrupted, with the vertical beam probably relating to Asorega, and the horizontal beam probably relating to Ramoras. The names of the spirits have been altered, it seems, in order to make the Square symmetrical, though in previous Squares the symmetry has been sacrificed in favour of the spirit names, which is in accordance with the overall consistent pattern. Were it reconstructed more entirely, the Square would instead look like this.

XXXI Asorega

Note that the fifth column may also be altered to read LEMORAS to give it a demonic suffix, which is feasible due to common scribal errors that were common with the letters ‘s’ and ‘f,’ as suggested in the fifth column. This has been kept intact due to the appearance of the Livre des Esperitz spirit Bulfas (also known as Pruflas and Suffales) in the Square, who may be pertinent to the operation.

Lower case letters represent my own reconstructions. The original Square from the Dehn edition can be found in the Notes.

To avoid too much, and possibly incorrect, interferences from myself, the first Square on this page was that worked with, though the others are worthy of experimentation. As it stands, the palindromic words ASER and AMOR in the original relate to the words אסר (aser), meaning ‘prohibition’ or ‘banned,’ and אמר (amor), meaning ‘command,’ ‘pronouncement,’ ‘word’ or ‘speech,’ suggesting a tabooed or blasphemous instruction or intention.

The Vision

A spinning pentagram appeared the revolutions of which gained in speed until its form was projected onto the sky leading the heavens to tear asunder where its form was cast. A great hole appeared through which many black shapes, like buffaloes – but also like large, black goats – rampaged over the grassy plains. They weaved their way through the land until they came to a high cliff ledge and cast themselves into the sea below. I went down into the sea with them and struck my head on a rock leading me to struggle to control myself in the waters while the buffaloes were washed away into the sea. Just in time, for the clouds above were now becoming violent and stormy, I spotted a ladder made of a dull-gold rope which I climbed in order to ascend to the grassy clifftops above.

I followed the high coastline to a town some miles away to the west and found a Middle- Eastern marketplace, though the surroundings were more European. For sale was Buffalo meat that had been fished from the sea which was for sale as a delicacy in the with a price of £19.70 per kg, with the price of the packet I was buying being £17.56. I bought a packet of the meat and ate it raw to find cold, icy-blue crystals inside. It wasn’t pleasant meat and was more akin to fish in its texture and flavour.

With little else happening in the town I found myself transported back to the cliffs where a strange sword with an ankh for a handle and a curved crosspiece was protruding from the land. I pulled it free and cast a circle with it that expanded to the horizons all around me in a circle of flame. In response to this vast circle being cast, a great dragon, blue in colour and covered in sharp, icy scales rose up from the waters. It communicated that in return for the buffaloes being sent into the sea to feed it, it allowed fishermen to collect its discarded scales and sell them for food at a good price. I realised that the food I had bought at the market was in fact dragon scales rather than buffalo meat as I had first been led to believe. Then, the dragon silently mouthed the word Baltharin to me then sunk back beneath the waters causing the earth to rumble as he swam away. With this the vision ended.


The original Square in Book IV appears as follows and features a clear omission of the seventh row, rendering it unusable.


The amount of meat I was buying was 1.97 per gram. Therefore, £17.56 represented 891 grams of this meat. This enumerates to the name of Ephraim (אפרים), whose sons were killed by raiders who came to rob them of their cattle, but is only otherwise valuable because of its return to nine (8 + 9 + 1 = 18, 1 + 8 = 9).

The word Baltharin was of interest as it appeared to be derived from the Hebrew words בעל (Ba’al), ‘lord’ and תער (tha’ar) ‘razor,’ ‘sheath,’ ‘scabbard,’ which may account for both the dragon’s sharp scales and the strange sword that was sheathed in the earth.

The new spirits apparent in this Square are names Fasma, deriving from the Greek φασμα (phasma), meaning ‘vision’ and ‘spectre’ and Fosfora, which is from the Greek Φωσφόρος (phosphorus), denoting a ‘light-bearer’ or Lucifer. The spirit Moreh here appears in the form found in the LBA version of the manuscript, Morel, which bears a similarity to the name of the spirit Morail in the Grimorium Verum, who grants invisbility and comes under the power of Duke Syrach. This name appears to come from the Hebrew מורא (mora), meaning ‘fear,’ ‘awe’ or ‘reverence.’

The Square was constructed with the Moon at 4º 57’ Sagittarius and performed with the Moon at 7º Aries.

XXIX: Eagles


Servitors: Igarag, Manties, Mara, Katsin, Irminon, Ismerik, Sigis, Gesegas, Kosem, Erimites, Nasi, Ramoras, Izozon, Isagas, Romoron, Soterion, Negen, Nagar.

The word at the outer of the square, NESIKER, derives from the Hebrew נשר (Nesher), ‘Eagle,’ with the word forcibly split by the word IGARAGI in the central cross, which is a mirrored expression of the spirit name Igarag, which expresses concepts relating to coldness, ice, crystals and frosts.

The Vision

Bright pin heads of lights, like stars, appeared in a black sky accompanied by xylophone music before water poured out of the blackness, as though from a cup, into the earth below. Pouring into the domed vessel of the Earth, the water ran down a hillside to create a river that ran down to a pool in the basin of a valley. It was twilight in that place, which had the feel of a place in-between.

I walked to the edge of the pool and in its reflection saw the face of an eagle looking back at me. I looked around to see if it was above me, but there was nothing else visible in the growing blackness of the sky. I looked to the water again and saw the eagle, appearing more solid now, and then his reflection jumped out of the water and he flew onto my right shoulder. I turned to face him and looked into his eyes and received his communication. He explained, in a slow, deep voice, how he had descended from the highest pinnacles of the universe, but could only communicate through the reflections of things, such as in waters and reflective surfaces, in this place as the naked eye could not perceive him. I understood that the form of him that I looked upon was only visible as it had manifested via its reflection in the water, but was not truly him. I was aware at this point that other eagles were circling the black skies overhead, though when I looked up to try and see them, I found them to be completely invisible. The eagle then told me that its eyes were the reflective surface I could look into in order to receive a vision from him.

On doing that, I had a vision of two men sat at a table before a drawn curtain in a pub, inn or some other kind of public place. I recognised one of the men as a friend of mine who shares the same first name as I do, but on approaching the table, I realised that both men were actually me. I assumed the identity of one of these versions of myself and looked across to the other version who sat on the opposite side of the table. Looking at the table, I saw that me and my doppelganger were playing cards and the card I had just drawn was the Five of Diamonds. I looked to see what the other cards on the table were and saw that every card in my splayed-out deck was the same as that which I had just drawn.

Then the Eagle began to speak in its slow, low voice again. It asked me how I would really respond to myself if I were another person. How would I communicate with me? What would I think of me? How would I judge me as another would, and how would I deal with me when I was being difficult or confrontational? These questions, it said, were prompts to deal with myself in all of my reactions, opinions, behaviours and patterns as though I were an external entity watching and observing such things with detachment, as though I were outside of myself. The ‘other self’ I looked upon opposite me, it said, was the part of oneself that could only be viewed in the mirror, and was not the same aspect of self as the one who does the viewing.

Once this message had been delivered, the drawn curtains I had been sat next to were opened to reveal a strange, infernal scene unfolding in the world outside. The lands were grey and the skies were black and red there; and from the Earth long, white bones jutted into the air like jagged spears. Around the bones harpies and gorgons roamed, their bodies those of women with their arms entwined with serpents and their faces blank of features save for the inverted muzzles of wolves with their fangs bared protruding from their foreheads. Their shoulders were mounted by great, leathery bat’s wings and when they thrust their groins towards me and parted their bare legs, they birthed swarms of bats that bit into my flesh with tiny, metallic teeth that ripped small chunks away from my body with each bite. In the sky above them, an armoured man wearing a black helmet with long, metal bull-horns flew on the back of a great eagle watched on.

After the unfolding of this hellish vision, the eagle spoke again on the nature of hell, commenting that it represented the state that the human mind most easily fell into, as it was easier to descend a difficult slope or fall into a hole in the road than it was to ascend a steep hill or climb a tall ladder. Ultimately though, he informed me, none of what I had witnessed represented objective reality and hell was nothing but a trap that we force ourselves into, for the human mind finds it easier to imagine its torments than its delights. To demonstrate the reality of this, he instructed me to invert all I had seen in hell to a heavenly equivalent. This I did with ease, making the gorgons angelic and golden in their appearance, while the landscape glowed with sunlight over verdant meadows as soft clouds scuttled by on the wings of sweet breezes.

Yet something about this vision was far less real than that of hell, for my mind could not imagine anything of this perfect scenario not dying, souring or ending in some way. This demonstrated to me that the human psyche is far closer to hell than heaven, as with death as its permanent reminder and great terror, nothing good could ever be seen to be more than a brief reprieve. Hell and its torments, however, could never let us down in terms of their longevity and permanence. The lesson the Eagle sought to teach was that all such ideas were nought but illusion. Hell and Heaven are but mirrors of each other in the human state of being, it said, with each being just as transient as the other. What the mind should strive to do was establish the same lack of identification as that which was advised in the previous scenario where I had sat opposite my doppelganger and observed it without any sense of emotional identification.

With this said, the heavenly scenario faded and I stood next to the pool again where the skies were once more those of twilight. As a parting gift, the eagle gave me a burning torch, advising me to use its light to guide myself through this world’s permanent, semi-lit state, for with it I could see things that the naked eye could not. To test this, I held it to the ground and saw a cat that was as black as coal appear out of the night air where there had previously been nothing. Then I held the torch above my head and saw the circling eagles high above where I had previously seen nothing more than the swelling night.


The purpose of the Hebrew word Nesher being spelled with a ‘k’ as opposed to the ‘sh’ of the letter Shin can be found by studying its reversed expression REKISEM. This word derives from the Hebrew root רחש (rechesh) meaning ‘whisper’ which either expresses the pluralised form of this word as recheshim, ‘whispers,’ or combines with the Hebrew שם (shem), ‘name,’ with rechesh in order to produce the meaning ‘a whispered name.’ Other meaningful words that appear within the square lie in the lines that spell KOLAMAS, which is either derived from the Hebrew חלם (cholam), ‘dream’ or is a mangled representation of the Greek word κάλαμος (Kalamos), which relates to a type of reed found at the side of a pond or lake. When spelled Calamos, this is also the name of one of the servitors of Ariton. Also present in the Square is the word ERAGOZE – ארגז (eragoz), ‘box,’ or ‘chest.’ Despite these possibilities, none of these words appeared to have any practical relevance to the results of the work unless the association of KOLAMAS with Calamus was represented by my beginning this vision at the side of a pool of water.

The name of the spirit Igarag appeared relevance due to its connection with the Hebrew word for ‘ice’ or ‘crystal,’ קרח (qarach), which in the case of the latter word has connections to the theme of reflection that pervaded this vision.Other pertinent Hebrew words that appear in the Square are ראי (rai), ‘mirror,’ ראים (raim), ‘visions’ and מער (ma’ar), ‘nakedness,’ which may provide an alternative etymology for the servient spirit Mara.

The theme of mirrors, crystals and reflective surfaces that pervaded this vision provide a link to Chapter IV of the Abramelin, which is also used to experience various visions, with the first Square of that chapter making things appear in mirrors, glass or crystals. Also apparent in this Square is a variation of the spirit name Erimites, who also appears in the Square relating to Eagles, as seen in the line which reads IRIIMITI.


An unsettling event occurred a short time after performing the scrying, when a sound that strongly resembled the sound of a rattlesnake’s tail came from the area of the room where I had performed the work. This was not the first time that extraneous sounds have been heard from the room before or after scrying these Squares, with the sound of chanting coming from behind me while scrying the Square that grants visions of Horses being the other example. This coincided with a feeling of unease and fear I felt right from the beginning of this vision. It is notable that the rattlesnake is of the same genus as the pit viper, with vipers being particularly related to the spirits communicated with during works of Goetia such as this, which in this case featured visions of gorgons with serpents wrapped around their arms.

The square was constructed with the Moon at 5º Capricorn and was scried with the Moon at 26º Aries.

The suit of Diamonds seen in the part of the visions in which cards were being played with equates to the suit of Pentacles, Disks or Coins in the Tarot. The Five of Diamonds therefore represents the Five of Disks which, in astrological terms, equates to the first decan of Taurus. This refers to the celestial occurrence of Mercury in Taurus and signifies ‘Worry’ in the Thoth deck. Of the energies present in this decan, Crowley stated:

“The Number Five, Geburah, in the suit of Earth, shows the disruption of the Elements, just as in the other suits. This is emphasized by the rule of Mercury in Taurus, types of energy which are opposed. It needs a very powerful Mercury to upset Taurus; so the natural meaning is Intelligence applied to Labour. The symbol represents five disks in the form of the inverted Pentagram, instability in the very foundations of Matter. The effect is that of an earthquake. They are, however, representative of the five Tatvas; these hold together, on a very low plane, an organism which would otherwise disrupt completely.”

Interestingly, with the scrying being performed with the Moon at 26º Aries, this decan represents the next decan the Moon would pass into approximately eight hours after the scrying had been performed. This seemed to be hinting towards some potential event, inner or outer, that is relevant to the timing of the Moon entering this decan. The ingress of the Moon into this position occurred at 2:29 am London time, on Friday 31st August, with Cancer’s position on the Ascendant signifying that the Moon or one’s emotional ideation of oneself was indeed the matter at hand. The first decan of Taurus is also that in which the Moon reaches its degree of exaltation, which at the moment is occupied by Uranus which brings sudden, revolutionary schemes to motivate, inspire or reinvigorate one’s emotional or reflective states. The Moon remained in this decan until 8:56 pm, making most of this day one in which the issues outlined above would be relevant in some way.

XXVII: Cranes



Servitors: Nolom, Mara, Malach

The word that connects this square to cranes is not its outer word, RAMAC, which comes from the Hebrew רמח (ramach) ‘spear’ or ‘lance,’ but from that in its second row and column, AGORA, which comes from the Hebrew עגור (agor), ‘crane,’ though it may also have links to the ‘gathering place’ of Ancient Greek society. The name of the spirit in the central square is presented as MOLOM, which probably refers to the name of the servitor Nolom, whose name means ‘unknown,’ ‘hidden’ and ‘concealed.’

The Vision

I was in a plane flying over a small tropical island. I thought the plane was about to land there, but found it continuing on to another beach much further away which was cold and bleak and populated by about a dozen Flamingos. The birds ambled about their business and paid me no attention as I walked around the beach, but then I noticed a bottle with a message in it coming to shore. I opened it and the note inside read ‘fly north, not south.’ Unsure who this message was intended for, I headed towards a flamingo that looked different from the others due to it being slightly larger and with white streaks in his plumage, and told him about the contents of the bottle.

He asked, with some anger, where we were, and I instinctively answered that we were in Alaska. ‘So how are we supposed to fly any further north?’ he replied. I suggested that perhaps they should continue flying north until they crossed the North pole and began heading south again. The Flamingo chief was no more impressed than before and said that the magnetic influence of the pole made birds lose their sense of direction, so this couldn’t be done. He then grew angry at me for reading the message in the bottle before he could, as those messages, which he received regularly, were read by someone the meaning of the message changed so that its original intent could never be known by the one it was addressed to. I apologised for this indiscretion, but the bird made off in anger. I then noticed that the whole time this transaction was going on the other flamingos, who remained mute the whole time, had formed a circle around me and were staring at me with evil intent.

Then I was somewhere else completely, suddenly finding myself in a house that was furnished in the style of a traditional working class home from the 1970s or 80s. Before me stood an old man, who I could only see from behind, who was wearing a flat cap, slacks and a creamy-beige coloured overcoat. He also carried a brown leather suitcase that was bulging open due to bit being overfilled. From a crack in the case’s opening, I could see a dead flamingo’s leg poking out, which the man snapped with a loud crack and attempted, but failed, to bundle back into the suitcase. After doing this, he headed towards the brown, wooden front door at the end of a beige hallway. I approached him as he headed towards the door, and he turned to face me, revealing large, silvery eyes and a dark, blank face that made it look like he was wearing a gas mask. He asked whether I had given the flamingos the message or not, and I replied that I had. He seemed pleased, and on my asking, he gave his name as Marchin. Then his appearance changed to that of a very muscular, middle-aged man wearing a green, military-style vest and a balaclava. He said something hard to recall about having to change his plans, as he was going on the run after apparently ordering some kind of ‘hit’ on the flamingos. Then, he picked up the receiver of an old-fashioned cream-coloured telephone with a plastic dial, and entered the number 7492 into it before hanging up without saying anything over the phone. Following this, he left the house and drove off in a scruffy blue car with the license plate Y161LLP.


The appearance of a plane flying over somewhere I assumed to be the Pacific Ocean represented a huge departure from the previous visions. The message in the bottle and the response of the flamingo’s leader suggested the flight issues planes have with flying over extreme northern and southern latitudes due to magnetic unreliability rather than birds, making me consider that both the message and the bird were simultaneously referring to my own travels by plane. The name given by the man in the house, which he pronounced ‘Marchin,’ resembles that of Machin, a spirit from the Livre des Esperitz who comes as a strong man who can transfer one from one region to another in an instant, which are both highly relevant to the content of this vision. Machin’s alias names across the Pseudomonarchia Daemonum, Lemegeton and Book of Offices are Maxayn, Marshiones, Mathias, Mathim, Bartyn, Barton and Bathin, and he is attributed to the spirits of the East under Oriens.

The last square to reveal a number of some kind was that which related to Horses, which gave the number 5932, which I equated (by analysing the numbers 5 + 9 + 3 + 2 = 19, and 59 + 32 = 91) to the gematric value for the term ‘enemy angel.’ In the case of this square the number dialled into the phone was 7429. Dividing this number into two, as I did with the Horses square, the following gematric correspondences present themselves: 74 = דיין (diyan) ‘leader,’ and 29 = דכה (decah) ‘is broken.’ This feasibly relates to the bird that the ‘Marchin’ had stuffed into his suitcase, which could have been being the white dappled ‘leader’ I spoke to on the Alaskan beach. That its leg was snapped symbolically refers to this ‘leader’ becoming ‘broken,’ which was a crime that Marchin, in his disguise as an old man, had to flee into exile for. The nature of his crime was then expressed esoterically in the index of the car he made off in, Y161LLP, reflected the gematric value of 161 expressed in the Hebrew word מנוסה (menosah), ‘flight,’ which relates to the themes of flying and fleeing that were present in the vision. The other letters present Y, L, L and P, then presented the value of 150, which equates to the words כנף (kenap), ‘wing’ and כפן (kapen), ‘to twist or bend.’ Together they add to 311, איש (aish), ‘a strong one,’ ‘oppressor,’ ‘warrior.’

Precisely what this crime of organised deceit, murder and flight relates to remains a mystery, though cranes (which here were presented as flamingoes) were equated with a sentry-like function by Pliny the Elder, and are thus a symbol of spiritual vigilance.

This square featured the first appearance of the servitor Malach, whose name may either derive from the Hebrew מול (mol), meaning ‘against’ or ‘opposed,’ or from מלאך (malak), ‘angel.’ Curiously, this fits with the numeric expression of the concept of the ‘enemy angel’ transmitted in the square relating to Horses. An extra note worth considering is that the only other square to feature a code expressed by a four-digit number was that relating to a vision of Horses, which, as mentioned previously, was a function that was misattributed (accidentally or otherwise) to this square. The ‘Horses’ square also featured the element of running away or fleeing, as was expressed in the word ARIKA and its connection to the Hebrew ערק (ariq, meaning ‘bolt’ or ‘run away’) and its associated word עריקה (ariqah), meaning ‘defector.’ In this square, the aspect of ‘running away’ was evident in Marchin’s quick escape in a battered old car, while in that of Horses it was evident in the spirit’s ‘bolting’ upstream first as the strange unicorn/zebra combination and then as the water snake. There was also a degree of somewhat antagonistic, contrarian elaboration of the animals that were supposed to appear in both visions may be significant, with the square that was supposed to deliver a vision of horses instead presenting a surreal zebra-unicorn, while that of cranes instead produced bright pink flamingoes.

In all, the strange mysteries that link these two squares may reveal an esoteric and hidden connection between them (perhaps related to the meaning behind the name of the spirit Nolom), that is hinted towards in their being mixed up with each other.

The square was constructed with the Moon at 26º Pisces and concluded when the Moon was at 17º 51’ Aries, which is very close to the position of 18º Aries that the moon was cited as being at in the vision of Wild Animals. Like this vision, that one featured décor that appeared to be date to the 1970s or 80s.

XXV: Steers



Servitors: Ramoras, Mara.

The word at the outer edges of the square, PARAH, comes from the Hebrew פרה (parah), ‘cow,’ while the spirit referred to in the central cross is Ramoras, whose name means ‘thunder.’

The Vision

I walked through a meadow and discovered a large puff mushroom that resembled a distorted-looking skull. Curious about what it was concealing, I took out the ankh knife I had found on my own dead body in the vision of A Mountain and cut it open. Inside were a writing mass of millipedes, but before I could look at them properly, a cloud of spores that seemed to also be tiny insects exploded out of the husk and made their way into my nose and mouth and down into my lungs. As soon as I inhaled them, I soared up into the sky, which darkened, then found myself landing in another field, though I came there by landing from below the earth, not above it. In the field a herd of Minotaurs stood guard, just as one of them had in the vision of Wild Animals. They came towards me with great suspicion and the one who led them held a chain, which another Minotaur to his right held the other end of. He explained that they were taking me prisoner as I shouldn’t be trespassing in their domain. I consented to be bound in the chains and kept a reserve of great power within me that I could easily break their bonds with if I felt any danger.

Once bound, they became winged bulls, like the Lamasu of Mesopotamian lore, and flew me to a lonely and sinister looking tower with a stone bull’s head mounted above the main entrance. Inside, on a dais at the end of a dark, stone chamber sat the monarch of the bull-men, who questioned me on how I got to his domain. On telling him that I arrived there after cutting open the puff mushroom, he seemed concerned and asked how I had managed to cut him open. In response, I showed him my ankh dagger and he grew fearful. He asked where I obtained such an artefact, and I told him I had recovered it from my own dead body on the top of a mountain. On hearing this, he apologised profusely for having me brought to him in chains, as one who had been resurrected from death as I had should not have been treated in such a way. I told him that I had not been offended as his servants had only been keeping due vigilance and had acted correctly. I reminded him that if I’d been offended by being brought to him, he would be aware of it by now.

As recompense for the discourtesy he felt he had done me, he asked me what I wanted of him to make amends, as he seemed greatly fearful. I said I wished for the essence of strength, vitality and prosperity that lay in the bones of his kingdom be granted to me, and he had one of his minions, who he named Taja, to bring me a vial that was filled with a thick, honey-gold substance. He bade me to drink it and told me it was the essence of a bull mixed with liquid gold. I drank it and felt a rush of warmth and well-being fill me. With this favour granted, I thanked him and bade him farewell and was returned back to the sunny meadow I had wandered before the mushroom spores had transported me to the darkened world of the bulls. In front of me when I returned was a brown and white cow happily chewing grass. On her ear was a white tag on which the number ‘39’ had been marked. Before the vision ended, a bull’s horn appeared in my hand and a voice came from the world above telling me to blow it if I ever had the need to summon any of its denizens to me.


The word AZOFA in the second row of the square comes from the Hebrew עזוב (azob), ‘abandoned,’ ‘forsaken,’ ‘derelict,’ ‘deserted.’ This wasn’t strongly reflected, but the castle where the Minotaur King resided was set alone in a dark environment.

The name Taja the King addressed his servant by is Minoan for ‘five’ and it was the Minoan culture in Crete that the legend of the Minotaur originated from. Both the beast itself and the culture its myth grew from derive their names from King Minos. With Minos being believed to mean ‘king’ and taur meaning ‘bull,’ a Minotaur is in essence a ‘king of the bulls,’ just as the throned king in this vision certainly was. That the king called his servant ‘five’ suggests that his minions were given numbers rather than names. This was reflected with the placid cow I saw in the field towards the end of the vision who had the number ‘39’ etched into the tag she wore on her right ear. 39 is directly relevant to the number of squares in this chapter of the Abramelin, though whether there is any esoteric meaning behind this is not something I have spent much time considering yet. Its Kaballistic meaning is ‘IHVH is One’ and also has the same meaning in its expression as the word אחד (achad), ‘unity’ = 13, reiterated three times.

The Square was constructed with the Moon at 12º Sagittarius and performed with Moon at 27º Sagittarius.

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.