This is the Form of the Secret Seal of Solomon, wherewith he did bind
and seal up the aforesaid Spirits with their legions in the Vessel of
Brass.
This seal is to be made by one that is clean both inwardly and
outwardly, and that hath not defiled himself by any woman in the space
of a month, but hath in prayer and fasting desired of God to forgive him
all his sins, etc.
It is to be made on the day of Mars or Saturn (Tuesday or Saturday) at
night at 12 o’clock, and written upon virgin parchment with the blood of
a black cock that never trode hen. Note that on this night the moon must
be increasing in light (_i.e._, going from new to full) and in the
Zodiacal Sign of Virgo. And when the seal is so made thou shalt perfume
it with alum, raisins dried in the sun, dates, cedar and lignum aloes.
Also, by this seal King Solomon did command all the aforesaid Spirits in
the Vessel of Brass, and did seal it up with this same seal. He by it
gained the love of all manner of persons, and overcame in battle, for
neither weapons, nor fire, nor water could hurt him. And this privy seal
was made to cover the vessel at the top withal, etc.
Note: Figures 162 to 174 inclusive are interesting as showing a marked
resemblance to the central design of the Secret Seal. It will be
observed that the evident desire is to represent hieroglyphically a
person raising his or her hands in adoration. Nearly all are stone
sepulchral steles, and the execution of them is rough and primitive in
the extreme. Most are in the Musée du Louvre at Paris.
Figures 162 and 163 are from the district of Constantine and show a
figure raising its arms in adoration.
In Figure 164, also from Constantine, the person bears a palm branch in
the right hand. Above is a hieroglyphic representing either the Lunar
Disc or the Sun in the heavens; but more probably the former.
Figure 165 is a more complicated stele. Above is the symbol already
mentioned, then comes the sign of the Pentagram, represented by a
five-pointed star, towards which the person raises his or her hands.
Besides the latter is a rude form of caduceus. A brief inscription
follows in the Punic character. The Punic or Carthaginian language is
usually considered to have been a dialect of Phœnician, and Carthage was
of course a colony of Tyre. Beneath the Tunic inscription is a horse’s
head in better drawing than the sculpture of the rest of the stele,
which would seem to imply that the rudeness of the representation of the
human figure is intentional. This and the following stele are also from
Constantine.
In Figure 166 again, the horse is best delineated by far. In addition to
the other symbols there is either a hand or a foot, for it is almost
impossible to distinguish which, at the head of the stele, followed by
an egg-and-tongue moulding. The figure of the person with the arms
raised is treated as a pure hieroglyphic and is placed between two rude
caducei. The Lunar or Solar Symbol follows.
Figure 167, also from Constantine, shows the last-mentioned symbol
above. The figure with the arms raised is simply a hieroglyph, and is
placed between an arm and hand on the one side, and a rude caduceus on
the other.
Figure 168 shows the person holding a rude caduceus in the right hand,
and standing above a dolphin. This latter, as in the case of the horse
in 165 and 166, is by far the best delineated.
Figure 169, this also being from Constantine, shows the usual human
hieroglyph between a caduceus and a crescent.
Figure 170 is from the site of ancient Carthage. It is very rough in
workmanship, and the designs are mere scratchings on the stone. The
_ensemble_ has the effect of an evil Sigil.
Figure 171 is also from Carthage and the various symbols appear to have
become compressed into and synthesised in the form of a peculiarly
evil-looking caduceus.
Figure 172 is from the decoration of a sepulchral urn found at
Oldenburgh in Germany. It is remarkable as showing the same hieroglyphic
human form with the crescent above; the latter in the Secret Seal of
Solomon has a flattened top, and is therefore more like a bowl, and is
placed across the hieroglyph.
Figure 173 is an Egyptian design which would show an analogy between the
symbol and the idea of the force of the creation.
Figure 174 is a stele from Phœnicia somewhat similar to the others,
except that the rudimentary caducei in Figures 166 and 170 are here
replaced by two roughly drawn Ionic columns.
These last three designs are taken from the work of the Chevalier Emile
Soldi-Colbert de Beaulieu, on the “_Langue Sacrée_.”
In Figure 175 is given the Seal of the Spirit HALAHEL. This Spirit is
said to be under the rule of BAEL, and to be of a mixed nature, partly
good and partly evil, like the spirits of Theurgia-Goetia which follow
in the second book of the Lemegeton.