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flair (such as the late A.O. Spare who evolved his own system of sigils) (2) that the best designs are those that have been used again and again in the past for the
same purpose, and are therefore fairly closely linked to the collective unconscious of the race.
These symbols fall into six main categories:
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. The Magical Square, or Kamea.
. The Seal constructed from this square by following the order of the numbers in the square (called the signacula by Agrippa).
. The Characters which are formed by joining the numerical values of the Hebrew letters forming the names of the angels on this square.
. The sign of the Planet.
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2] See Drury, N. and Skinner, S. The Search For Abraxas. Neville Spearman, London, 1972. pp47-71.
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. The Sigil of the Angel attributed to the planet.
. The Characters of the various Spirits, Intelligences, Olympic Spirits and Demons associated with this planet.
These are variously used according to the exact nature of the operation in hand. Obviously the sigil of the Demon of the planet would be almost never used in
talismanic magic.
Following are the traditional (3) forms of these figures required for planetary talismans:
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[3] It may be remarked that some of these appear to differ from other published versions, so that for example, the sigil of 'Tiriel', intelligence of Mercury,
appears to be on its side and the sigils of the Moon differ in a number of ways from other versions. This is because even in The Magus by Francis Barrett, the
sigils were freehanded by draftsmen after having been worked out on the square. In these reproductions, allowing for the convention of rounded corners where a
line doubles back to an earlier letter, the sigils are exactly proportionate to their Kameas, and the right way up, so that they may be superimposed on the Kamea
to accurately give the numerical values of the letters comprising the Hebrew name of the entity concerned. In the case of the very complex Moon sigils which
comprise up to five separate Hebrew words, the words have been separated into two groups (as is conventional) to avoid the very obscure form generated by
superimposing the lines representing all the words one on top of the other.
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