Magic Rings of Seduction

Creation of Powerful Carnelian and Gold Venus Talisman Rings

 

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Electional Configuration

This was a particularly superb election for Venus; so excellent in fact, that I went through some extraordinary efforts and even a few personal sacrifices. What was so good about it to make me jump through flaming hoops?

First, we have Venus in her Rulership in Libra culminating. Not just in Libra, but the first degree of Libra—which is an accidental fortunation in the same way that the final two degrees of any Sign are unfortunate.

Second, the Moon is in a phenomenal state. She is fast, and applying a benevolent aspect to the Ruler of the Sign she is in; something Picatrix says is fantastic for any election. She is also applying to conjoin the North Node of the Moon. That’s spectacular.

Third, the Ruler of the Ascendant is Jupiter, who while peregrine is in the House of his Joy (the 11th) and in the 1st degree of a Sign. Great accidental dignifications!

There are a few negatives which deserve attention, but no election is perfect.

Venus is making no applying aspects.

Saturn is in the 1st House and in a malefic decan; but he’s not on the Ascendant and Lilly like most Renaissance astrologers deem Saturn to be acceptable in the 1st House generally. It is also Saturn’s day, which I feel pays the ferryman off, to an extent.

The Moon is also making a trine to Saturn, and she is waning; something Picatrix says reduces the afflictions of the Moon by Saturn. Any aspect to Saturn generally weakens a planet, however. At least Saturn is not retrograde!

The waning here is overall positive, because it diminishes the influences of Saturn; especially over time. Lunar phase alone never makes or breaks an election, in my estimation.

Jupiter is under the Sun’s Beams but not in combustion. I tend to think this is a moderate affliction.

The uncommon positives easily outweigh the less impressive negatives. This election is a juggernaut of sexy. Nothing’s gonna stop that lady!

The Powers of Venus

Picatrix describes the natural rulership of Venus in this way:

Venus is the source of the power of flavor. And she rules grammar and the art of measuring sound and song. Among languages she has Arabic; among the internal organs, the right nostril, and among internal organs, those that meet in sexual intercourse and project sperm, and the stomach, and those from which come the virtue and flavor in eating and drinking; among religion, Islam; among clothing, all painted clothing; and of professions, all professions of painting and shaping, selling things that smell good, playing instruments that are good to listen to, singing, dancing and making stringed instruments; among flavors, all sweet things that taste good; and of places, place of vice, places in which men seek healing, and in which men dance, and places of cheerfulness where there is singing and speech, and places of ladies and beautiful women, and also places of eating and drinking; and of precious stones, pearls, and of rocks, lapis lazuli and almartach; and of plants, all plants with a good odor like saffron and arhenda, roses and all flowers with a good odor and smell and are pleasant to look at; among medicines balsam and grains of julep, and those that emit a strong smell, such as nutmeg and amber; among animals, females, camels that are beautiful and all beautiful animals with symmetrical bodies such as gazelles, sheep, gazelles, hares, partridges, calandras and the like. Among small animals, she has those that are colorful and beautiful; among colors, sky blue and gold tending a little to green.

One of the emphases in Picatrix which is often less clear elsewhere is that Venus governs music and song in particular. This is why sometimes on talismanic ymages, Venus is depicted as having the head of a bird, because birds sing.

A similar but perhaps more interesting section appears elsewhere in the text:

Venus is cold and moist, and a fortune. She signifies cleanliness, splendor, preciousness, word games, delight in music, joy, adornments, laughter, pictures, beauty, loveliness, playing music by the voice or stringed instruments; delighting in marriage, desiring spices and things that have good odors; sending dreams; provoking games of chess and dice; desiring to lie with women and to fall in love with them and receiving promises from them; desiring to appear beautiful, loving liberty, magnanimity of heart, and joy. She abhors anger, brawling, vengeance, and lawsuits; she desires to serve the desires and wills of friends concerning the world’s opinion; tends toward false promises; is inclined to cupidity; desires to drink much; incessantly desires much copulation, and of shameful kinds, and to do it in inappropriate places, as women are accustomed to do with one another; delighting in animals and children and in making them good; making things equal; delighting in merchants and living with them and being loved by their women; and that they may be delighted by men. When she is well received, she plays a part in the making of crowns, building stables and working in stone, having sweet speech, disdaining the world and having no fear of it; sustaining people so that neither anger, strife, or discord can be felt by them; it designates a weak heart and a weak will in lawsuits and combat, and signifies desire for all beautiful combinations of things which may be in conformity with the will; making colors and laboring diligently in skills involving them; selling merchandise, spices, and prayers; those who observe the religious law; and those who adhere to sciences and philosophies of forbidden kinds.

One of the differences in the latter section is that it includes several negative attributes, or attributes which we today might considered not complimentary. This is at least partially because this is a description of Venus in general, and not solely when she is essentially dignified; the state which is a common requirement for the production of her talismans.

However, there is a distinction made between what a celestial hierarchy governs and what it is most suited for in talismans and petitions.

Picatrix on Venus Talismans

Picatrix gives a fairly wide range of recipes for Venus talismans, including one to make the wearer well-liked by all, one to be always cheerful and happy (basically magical Prozac), one which cures venomous snake bites, one to seduce young men, one which provides immunity from harm, one for general luck and profit, one to drive away mice, one to drive away flies, one to drive away leeches, one to attract the love of women, one to cure children of boils, and one to cure all stomach ailments; and that’s just in Book II chapter 10!

What we can derive from this is that Venus is one of the most versatile of planets, capable of bringing many of the pleasures of life and relieving many of the dangers and annoyances. Venus is always about pleasures and comforts. The only reason why she’s deemed the Lesser Benefic is that the Platonists tended toward Stoicism and favored intellectual joys over the worldly ones.

One of the reasons why we have so many recipes for Venus configurations is that they do help focus the power on particular goals, to the diminishment of other powers. But Picatrix does say that if one must choose between a generalized power or a particular power, the former is better. It can be used for many more things, and improve life overall. This is why in the end I used a talismanic design inspired more by Cornelius Agrippa’s work than that of Picatrix, though there is clear influence from the latter.

Picatrix says in Book III:7:

Seek from Venus all things that pertain to her, such as petitions of women, boys, and girls, daughters, and generally everything pertaining to the love of women and carnal copulation with them, art, vocal and instrumental music, telling jokes, and all those who give themselves over to worldly pleasures, those who engage in vices, male and female servants, brides and grooms, mothers, friends, sisters, and all those similar to them, and in these petitions you may also help yourself with Mars.

I would identify these as the main properties of generalized Venus talismans, as well as guidelines for the optimal requests in Venus petitions.

Design of the Rings of Seduction

When indecisive about what to put on a talisman I often inquire with tarot.

Sometimes the size and shape of the material limit the choices, and sometimes time restricts options when you’re creating several talismans in a narrow electional window.

Since this project was a series of rings in varying band sizes and gemstone sizes, it would be necessary to use sigils for the smallest only because it is hard to engrave elaborate tableaus on a small cabochon.

There also needs to be enough time during the full electional window to recite at least an abbreviated petitional text, engrave, suffumigate repeatedly, and affix the herbs with glue on all talismans before the time window ends.

The gemstone chosen was carnelian. One of the more unexpected Venereal stones, the gem looks a little like raw meat and even the name is suggestive of carnality and carnivorous; it is not surprising that it is co-ruled by Mars. The band was gold wire wound around a core of gold-filled wire to strengthen it. Gold and bronze are both suitable metals for Venus.

The herbs under the ring were thyme and vervain—both Venereal. Thyme is a love herb, and vervain has associations with bewitchment and in particular the power of fascination.

All in all, it’s a material expression of sexual desire in the language of herbs and stones.

The suffumigation was storax. I almost went with balsam, which is also a good choice. I used that in another recent election. I really do love the sexy scent of storax. (I get mine from Alchemy Works .)

The ymage was as depicted; the sigil of the Intelligence of Venus, Hagiel, at the center. Below was the word Venus, and at the top was the Venus sigil variant from the Arabic Picatrix (the Ouroboros Press version). The Latin Picatrix sigil is taller and the triangle is smaller, but is otherwise the same. I like it because it’s a little mysterious and weird, and not recognizable to people who haven’t studied SIM.

The planetary Intelligence is often used in tandem with a planetary Spirit. Unfortunately, there is some ambiguity whether planetary Spirits are simply lower order daimones, or actual evil demons. Agrippa is a bit confusing on the matter. In any case, I do not work with demonic beings for any reason, and my Venus talismans seem to work fantastically without the sigil of Kedemel (the Venereal planetary Spirit).

I believe that the planetary Intelligences are a class of beings not from the planetary spheres, but who control the affairs of those realms from afar in the uppermost cosmic sphere (either the 9th or 10th, depending on the model you use). This gives them lofty power, but will behave in a somewhat fickle and arbitrary manner at times, because they are quite alien and godlike. There are many interesting things to be learned about them when you compare what Agrippa writes and their origins in the work of Pseudo-Dionysius the Aeropagite. If I am correct, planetary Intelligences are supercelestial and thus they can magnify the power of any elections which fall under their governance.

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Seven rings were created, one of which has already been delivered to a client. I will surely keep at least a couple for myself. This was a great project to work on.

Gemstones and Metals in Picatrix and SIM

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An array of cut and polished gemstones.

Scholastic Image Magic, or SIM for short, focuses somewhat upon the creation of talismans; that is, material objects in which a spirit of the heavens is ritually embedded in order to perform works of wonder. Picatrix, also known as Ghayat El-Hakim in its original Arabic title, is the largest and most detailed example of this tradition of magical texts. While Picatrix is a miscellany of magical and esoteric lore, the majority of it can be said to either provide recipes for the creation of astrological talismans or reference materials and theory which support this endeavor.

Picatrix was never intended to contain all the knowledge necessary for the reader to create talismans, evoke spirits, or the many other secrets it offers. The student of the work was expected to be educated in the system of advanced astrology prominent at that time, with a priority towards electional astrology, the choosing of fortunate or unfortunate times to commence an activity or construct or alter an object. Talismans were simply one way to use an astrological election; by embedding the spirit of a fortunate moment of a particular flavor in matter, the luck or power would emit from the talisman even during times which were mediocre or quite adverse.

The student was also expected to be quite versed in the sciences of the era, which depended heavily upon the works of Aristotle and Pliny and the studies of the alchemists. While astrological associations of metals and gemstones and other materials often differ from those the alchemists used, they overlapped sufficiently that in the absence of guidance from canonical texts of astrology and magic, the student would refer to alchemical teachings as a supplement.

Many of these supplemental texts have been lost or are not available in translation. What modern practitioners do is refer to texts which are compatible but later in history and thus more accessible. Cornelius Agrippa’s Three Books of Occult Philosophy is a great source for such information, and when herb lore becomes relevant so is Nicholas Culpeper’s Herbal.

Picatrix is often evasive about the diversity of talismanic implementations. There are hints that wooden talismans are possible, but it gives no details regarding their manufacture. Pigments are often associated with stellar configurations, but again there is little information on how they were to be used, since paper and parchment were not thought to be able to absorb power very well.

Venus

Talismanic Image of Venus based on recipes in Picatrix.

What is provided are instructions on how to cast talismans out of metals and colored waxes, and to engrave gemstones. When the proper picture or sigil was inscribed or cast on such an object at the elected time, a spirit of one of the seven planetary hierarchies or one of the many more exotic stellar hierarchies would empower the talisman and give it amazing powers. Incantations and burned incense would facilitate the process and strengthen the creation of the talisman, and compatible herbs would either be placed with it or glued to in some manner to magnify or focus the power towards a particular objective.

In recent centuries the concept of correspondence has eclipsed that of affinity, and to modern practitioners the return to the old way of thinking may be jarring. The alchemists had a one to one correspondence between the seven traditional planets and metals, with lead corresponding to Saturn, tin to Jupiter, iron to Mars, gold to Sun, copper to Venus, quicksilver to Mercury, and silver to the Moon. Even later in history, singular colors corresponded to the planets as well; black for Saturn, blue for Jupiter and so on. This is alien to the older and more complex astrological tradition.

In SIM, there are long lists of metals and minerals (not to mention herbs and animal ingredients) associated with each planetary hierarchy. Furthermore, many materials appear on two or more lists for different reasons. Each planetary hierarchy has multiple colors. Lastly, there is no singular material on each list which most associated with the planet any more than there is one which is the least. Each material has qualities which in some way resemble the function of one or more planetary hierarchy, which can include color, weight, attractiveness, medicinal usage, flavor, folkloric associations, hardness, translucency and much more. This complexity is often jarring to newcomers in this system.

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Metallic gold (and minerals like iron pyrite which resemble it) are prized in SIM.

An example of these complex associations is the metal gold. The yellowish hue and, when polished, its shininess associate it with the Sun. Its inability to tarnish is associated with the Sun’s regularity and mathematical associations with the four seasons. Gold is an excellent material for Sun talismans. However, gold is a very heavy material—almost as heavy as lead—and this is why it is associated with Saturn, the planetary hierarchy associated with weight, gravity and things drawn down into the earth. Saturn talismans can be made perfectly well in gold; in some ways it is superior to lead because it is more rigid and less likely to distort when worn or carried. Gold is highly attractive and desired, and so it gains associations with Venus and also is appropriate for her talismans. Gold is also expensive and thereby gains associations with Jupiter, the governor of riches. Gold is also suitable for Jupiter talismans. The only planets which can’t work with gold are Mars, Mercury and perhaps the Moon.

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Lapis lazuli with iron pyrite inclusions is particularly versatile and inexpensive for making talismans.

More overlap appears in one of the most commonly used gemstones, lapis lazuli. A soft, vividly blue gemstone that is frequently flecked with golden iron pyrite inclusions, it is relatively inexpensive and thus is quite popular among contemporary practitioners of SIM. Of greater importance, Marsilio Ficino (a Renaissance genius who practiced SIM among many other things) observed that softer materials produced talismans which had shorter lifespans but produced magical effects especially rapidly. Picatrix uses a slightly different rationale with the same conclusion. Nevertheless, lapis lazuli with pyrite inclusions gains association with Saturn by two routes; the golden appearance of the pyrite hearkens back to metallic gold and its own associations with Saturn, and because of a historical confusion between lapis lazuli and sapphire– both mean “blue stone” in different languages (Latin and Sanskrit) and the latter is more directly associated with Saturn due to its dark color and extreme hardness. (Saturn governs darkly pigmented things and durability.) Lapis lazuli with pyrite inclusions also has affinity with the Sun because of the golden appearance of the flecks of pyrite. Lapis gains association with Venus because of its oceanic blue color, and the Greek myth of Aphrodite emerging from the sea foam. The Moon arguably has the strongest associations with lapis lazuli because of this oceanic connection, and the dependency of the tides upon the Lunar cycles. Additionally, by way of lapidary lore, lapis lazuli has the property of diminishing melancholy and grief, and this quality is added to and magnified by the transformation of a lapis lazuli gemstone into a Saturn, Sun, Venus or Lunar talisman, regardless of its other powers.

These are two, slightly extreme examples of how the 1:1 system of correspondence fails in Scholastic Image Magic. In many instances a gemstone or other material will only have associations with one or two celestial hierarchies. But I illustrate this to make a point; materials such as gemstones, metals and herbs are not singular representatives of a celestial hierarchy in each kingdom of matter, but one of a host of materials which a particular astrological spirit hierarchy finds beautiful, interesting, useful, or more real. Everything in the world is ruled over by one or more planetary hierarchies; there’s a lot of redundancy down here. And an alternate way to express this if the notion of spirits is undesirable, is that just like different forms of electromagnetic radiation can penetrate metals and flesh and stone to varying degrees based on type, the rays of astral light (which are the spirits themselves) can irradiate all substances to differing degrees. Only those materials which can be fully irradiated by astral power of any particular variety are capable of becoming the vessels of power that are talismans.

There are an abundance of additional factors to consider when selecting gemstones for the purpose of making a particular sort of talisman. Some are metaphysical and some are practical.

Picatrix advises that one may use the system of humours or temperament to attract and repel animals and people of particular constitutions whose images have been engraved on gemstones. A gemstone which is believed to be hot and dry with the talismanic image of a fierce animal like a lion will attract and tame the animal. A gemstone whose constitution is believed to be cold and wet with the same image and stellar configuration would instead repel lions. The same might be applicable to types of people who might appear on a talisman, such as a king or a warrior. Sadly, lists of the elemental associations of gemstones from the era of Picatrix do not appear to be available in translation, and some guesswork is necessary.

Gemstones are believed to be the fruits of the Earth, and are natural phenomena. In the outlook of the scientists of the era, plants were a midpoint between the attributes of animals (both grow) and minerals (neither move about). One of the implications of the continuum between animal and mineral is that to an extent, minerals are parts of the living Earth and closer in nature to a living oak tree than a carcass. This explains why gemstones which are in various ways not natural do not make good talismans. Artificial diamonds and rubies, irradiated gems, dyed gems, and sometimes even heated minerals do not absorb the essence of the spirit beings adequately in order to turn them into talismans. Sometimes when they do work, they produce unpleasant side effects. Synthetic gemstones are akin to silk flowers and wax fruit; they may look like the real thing but often are inadequate replacements.

The color of gemstones is a complicated issue. Gemstones of particular colors are indeed associated with particular planetary hierarchies; pretty much any white stone can be used for Jupiter, for example. Nevertheless, this is an instance where an association is very superficial and often will produce an inferior talisman. Gems which have very particular associations with planets because of unique properties take precedence over something like color alone, which is far more general. Many gemstones which are powerfully associated with a particular planet are of extremely counterintuitive colors.

Another issue with color is that on a mineralogical level, several named gemstones are basically the same mineral and differ only by color. In this instance, the differences of color are the source of the identity rather than chemical composition or crystalline structure. One example is onyx, traditionally a black or brown stone with white banding. Onyx can be used for Saturn talismans, Moon talismans, and the fixed star Corvus. Sardonyx is a stone which is red or orange with white or yellow banding. Other than color, there is no difference between the two. However, sardonyx is used for the talismans of the fixed star Antares, and neither the Moon nor Saturn. Antares is a reddish star, whose appearance resembles that of the stone. It is an exception to the rule. A more well known pairing like this is that of sapphire and ruby; both are the mineral corundum, but the former is black or dark blue and the latter red. Their metaphysical associations are completely different. Seeming paradoxes sometimes occur. The emerald is suitable for Jupiter and Mercury talismans; planets which are otherwise completely opposite to each other in every way. It is not enough to understand which materials are associated with one or more planets. Whenever possible, one must understand why.

The last consideration for gemstone talismans I wish to make in this article is that of shape. The most important consideration is practical; you need a gemstone with a large flat surface—large enough to engrave a sigil or, far better, a pictorial image using a diamond stylus. Emerald cut and marquis cut gemstones can provide enough surface for a small sigil but little more. Cabochons, whether hemispherical or ovoid, are the better option. They provide maximal surface area and are portable. They work in ring settings and can even be secreted in a pocket or wallet.

They also have a harmonious shape. Aristotle believed that the cosmos was spherical as the macrocosm, and this was mirrored in all spiritual beings as a microcosm; the shape of all spirits (in spite of appearances) are spheres. Anything which approaches the shape of the sphere, including ovoid shapes, circles and hemispheres, are particularly suitable vessels for a spirit being such as a talismanic entity. So, though it is seldom practical, the optimal talisman is a mineral sphere of the largest manageable size.

The factors which must be taken into account in the selection and preparation of gemstones and other material objects for transformation into talismans in Scholastic Image Magic can be daunting at first. It requires a great deal of specialty knowledge, but the authors of the Picatrix, Agrippa and other masters of SIM tended to describe talismans made in an optimal way in order to minimize side effects and maximize their power—and massive power it can be indeed. However, the average experimenter (or master of this system in a bit of a hurry) can use inexpensive or even slightly inappropriate timing and materials to create talismans which provide sufficient and immediate results. This is an elite system of magic, but the basics are accessible to all with the drive and determination to ascend.

Massive Talismans and Chimerical Spirits

I say to you further that, if the quantity of stone of which an image is composed is large (that is, between an ounce and a pound), the virtue and power of it will be able to reach from the place where it is for a hundred leagues.

If it contains a combination of things in its figure, however, its nature will have no motion or effect except that which terminates in its own place, though its motion or effect will not be limited to those of its substance or the nature of the bodies that compose it, for spirits have a wider range than those bodies that contain little spirit.

–Picatrix IV:4, Greer-Warnock translation

Picatrix Analysis:

Talismans made from mineral spheres of even medium sizes will project power for 300 miles in all directions.

Talismans which attempt to draw upon the power of more than one celestial hierarchy will be crippled, like a chariot whose horses are running in different directions.

They will have some influence in their immediate environment because they are inhabited by a chimerical spirit, but less than a pure spirit and more than the natural virtues of whatever material the talisman is composed of.

On that note, I hereby coin the term chimerical spirit; a temporary union of astral spirits from dissimilar celestial hierarchies in a talisman, which being neither fish nor fowl operates with the virtues of neither.

This notion seemingly creates an inherent limitation upon House-based talismans. Which may explain why I have found them ineffective and frustrating.