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SIGILS, CIPHERS and SCRIPTS
THE HISTORY AND GRAPHIC FUNCTION OF MAGICK SYMBOLS
Written and Illustrated by
M. B. Jackson
GREEN MAGIC
Sigils, Ciphers and Scripts © 2013 by M.B. Jackson.

All rights reserved. No part of this book may be used or reproduced in any form without written
permission of the author, except in the case of quotations in articles and reviews

Green Magic 5 Stathe Cottages Stathe

Somerset TA7 0JL England

[email protected] www.greenmagicpublishing.com
ISBN 978 0 9566197 6 1
GREEN MAGIC
Designed and typeset by K.DESIGN, Winscombe, Somerset
MAGIC WRITING
The Hermetic Science of the early Christian ages, cultivated by the Arabs, studied by
the Chiefs of the Templars, and embodied in certain symbols of the higher degrees of
Freemasonary, may be accurately defined as the Cabala in active realisation, or the
Magic of Works. Albert Pike, Freemason
Contents
Foreword ............................................................................................. 7 Magic Writing
..................................................................................... 8 Symbolism
.......................................................................................... 10 Schema
............................................................................................... 12 Astrograms
......................................................................................... 14 Ideography
.......................................................................................... 16 The Flower of Life
.............................................................................. 18 The Celestial Alphabet
....................................................................... 20 Chaldean and Hebrew Cabala
............................................................ 22 Greek
Cabala....................................................................................... 24 Isosephy
.............................................................................................. 26 Tables of Correspondences
................................................................. 28 Arabic Cabala
..................................................................................... 30 Jewish Cabala
...................................................................................... 32 Geomantic Characters
......................................................................... 34 Alchemical Glyphs
............................................................................. 36 Hermetic Ciphers
............................................................................... 38 Enochian Alphabet
............................................................................. 40 Masonic Ciphers
................................................................................ 42 Magic Squares
..................................................................................... 44 Angelic and Demonic
Sigils................................................................. 46 Sigil
Ciphers........................................................................................ 48 Planetary
Kamea.................................................................................. 50 Spirit Seals and Planetary
Pentacles...................................................... 52 Neopagan Symbols and
Scripts............................................................ 54 The Runic
Oracle................................................................................ 56 Tree Ogham
........................................................................................ 58
5
Foreword
AT THE BEGINNING of the 21st century, the majority of westernised people live in material
ignorance of the spiritual truths of our occult heritage. However, when asked about the magic origins
of the alphabet, the uninitiated will reply that the letters are probably derived from drawings of the
stars, as in the signs of the Zodiac, and ordered accordingly. This answer, although not technically
correct, is a reminder of the archaic resonance of such signs. Having psychologically embedded
themselves within mankind’s prehistoric subconscious, they enable even the most illiterate human to
retain such distant memories of their origins.

The creator of this divine alphabet according to Cabala is of course God. This edited version of The
Celestial Alphabet is taken from the Serfira Ha Zohar, a Holy book of prime importance in Jewish
mysticism and considered second only to the Talmud. It relates the story of how God ordered the
letters of the alphabet at the moment of Creation.

For 2,000 years before the creation of the world, the letters were concealed and hidden, being
objects of divine pleasure and delight. When the Divine Being willed to create the world, all the
letters appeared before his presence in their reverse order.

First, the letter Tav (th) appeared before the Divine Presence and said: “Let it please thee to
create the world by me, as I am the the final letter of the word Emeth (truth), which is graven on
thy signet ring. Thou thyself are called Emeth and therefore it will become thee to begin and create
the world by me.” The Divine Presence replied: “Thou, oh Tav, are indeed worthy, but I cannot
create the world by thee: for thou art destined to be the characteristic emblem borne by (death), of
which you art the final letter. Therefore the creation of the world cannot, must not, be through
thee.”

One by one the letters made their case to the Divine Presence on why he should create the world
by them. The Divine Presence listened to their pleas before giving his reasons why each letter
would not be chosen, returning them to their previous position in the alphabet, until only B (Beth)
and A (Aleph) remained. Beth moved forward to make his case and said: “Create the world by me,
because I am the initial letter of Beracha (blessing) and through me all will bless thee, both in the
world above as in the world below.” “Truly Beth,” said the holy one. “I will surely create the
world by thee only.” Hearing these words, Aleph remained in its place and went not to the divine
presence, who therefore exclaimed “Aleph, Aleph! Why commest thou not before me as all the other
letters?” Aleph replied: “Lord and sovereign of the universe, it is because I have observed that,
except for Beth, they have returned as they went, without success. Why therefore, should I come
before thee, since thou hast already given Beth the great and precious gift we all of us craved and
desired. Moreover, it becometh not the monarch of the universe to withdraw and take back his
presents from one subject and give them to another.”

To these words the Holy One responded: “Aleph, Aleph! Thou shalt be the first of all letters and my
unity shall be symbolised only by thee. In all conceptions and ideas human or divine, in every act
and deed begun, carried and completed, in all of them shalt thou be the first, the beginning.”
Therefore did the Holy One make the letters of the celestial alphabet capitals, and those of the
earthly small, each corresponding to one another.

Therefore, the Book of Genesis begins with two words whose initials are B: Berashith Bara (in the
beginning created) followed by two others, whose initials are A: Alhim ath (God, the substance of )
to show that the letters of these alphabets celestial and earthly are one and the same by which
every creature and thing in the universe has been formed and produced.’

In time, God taught the wisdom of the alphabet to the angels. He then commanded the Angels to teach
it to Adam, so that he may rise up from the fall. While God still walked in the Garden of Eden, He
commanded the Hebrew patriarch called Enoch to work as his scribe, recording the comings and
goings of gods and men in the garden.

Enoch was deified as a reward for his work and is thought to be the archetype for the God Nabu in
Babylonian mythology, Thoth in Egyptian mythology and Hermes and Mercury in Greco-Roman
mythology. In his triform personality of Thoth, Hermes and Mercury, he was celebrated by Medieval
and Renaissance alchemists as Hermes Trismegistus or Thrice Great Hermes, the founder of Hermetic
science or Alchemy
Foreword 7
Magic Writing
THE PRACTICE OF magic writing dates back to at least 50,000 BC with the drawings, paintings and
carvings of prehistoric people practicing hunting magic. Archaic religious practise indicates that
writing and magic may have the same ancestors, as ancient Chinese pictograms show a similar
graphic signature to their equivalent in the I-Ching.

The Romans held a fear and ambivalence towards magic before they banned it. Following the split in
the Roman empire and the ascendency of the Orthodox Church, books of magic were burnt and the
centre of sacred learning moved to Arabia and Persia, where the last remaining tenets of Chaldean
magic became incorporated into Sufic mysticism.

Magic Writing in the Ancient and

Classical World

All civilisations of the ancient and classical worlds used their sacred scripts, given to them by their
god of wisdom, as a system of magic symbols. The first great magicians of history were the priests of
Babylon and Egypt, who were seen as the guardians of a secret knowledge given by the gods to
humanity to ward off the blows of fate. Magic sigils inscribed on amulets and talismans made of
wood, clay and metal were worn round the neck. Protective and healing spells were written on
papyrus, folded and worn against the body.

The most respected magicians were priests who could read the ancient books kept in temple and
palace libraries. Only the ruling elite were fully literate, so written magic was the most prestigious of
all. Private collections of spells were treasured possessions, handed down within the family.

Babylonian, or Chaldean magic was the first system to attach godly, planetary, celestial and numerical
correspondences to the letters of the alphabet and to divine fate and destiny using numerology and
astrology. It was also the first system to develop true names. In Babylonian mythology, chaos existed
because nothing had a name. To bring order, they conceived the idea of ascribing a numerical value to
each sign in their syllabary so that every name was capable of numerical expression.

Ancient Egyptians used magic, or heka to empower hieroglyphs for amulets, talismans, magic figures
and spells, created by priests, magicians, healers, scorpion charmers, midwives, nurses and
protection makers. In pre-Roman Europe, Germanic and Celtic tribes used runic symbols as a system
of divination and calendar making, as well as for empowering amulets and talismans.

Magic in the classical world was expressed using the Greek language – its alphabet and Pythagorean
number system. The centre of learning was the library of Alexandria in Ptolomaic Egypt which
resulted in the mixing of ancient knowledge from India, Persia, Babylon and Egypt with existing
Hebrew and Greek mysticism, influencing the creation of new esoteric movements: Hermeticism,
Gnosticism, Neoplatonism, early Christianity and Jewish Cabala.

Around the time of the birth of Jesus Christ, Greek, Coptic and Demotic scripts were frequently used
to write some of the names of God – IAO, JAO, YAHWEH, JEHOVAH, SABOATH, ADONAI – on
magical papyri. These magical papyri contain early instances of the use of wands and other tools used
in modern ritual magic. Curse tablets involved writing the victim’s name on a thin sheet of lead with
various magic symbols from Babylon, Egypt and Greece.

Medieval, Renaissance and

Modern Magic Writing

In the Middle Ages, magic became synchronised with Christian dogma. From the 13th century, Jewish
Cabala exerted an influence on Christian occultism, giving rise to the first grimoires and the scholarly
occultism that would evolve into Renaissance magic. During the Renaissance, the rise of science split
alchemy from chemistry and astrology from astronomy, leading to the Age of Reason. This led to the
criminalization of witchcraft which, in due course, influenced the rise of 20th century neopaganism.

During the Middle Ages and Renaissance, it became fashionable to write anything connected with
magic in one or more of the dead scripts from the ancient and classical worlds, particularly
hieroglyphs and Hebrew and Greek characters which, due to their antiquity, were considered to hold
great magical power and resonance. Because more people were becoming literate in Latin, they acted
as ciphers, hiding the esoteric knowledge that was condemned by the Christian church, although the
majority of magicians considered themselves essentially Christian.

Medieval alchemists used alchemical glyphs as syllables to encode their formulas. The Renaissance
saw the rise of the esoteric Masonic tradition and their number ciphers, derived from magic grids.
The revival of Hermeticism saw the creation of Celestial and Angelic scripts, communicated by
angels, as well as the invention of new ciphers that were either revived variants of supposedly older
magic scripts based on Hebrew and Greek, or novel scripts produced by individual adepts for their
own needs.

In the Renaissance, the invocation of spirits using ritual magic was the focus of much occult practise,
resulting in the publication of magical training books called grimoires. The most famous grimoire,
The Lesser Keys of Solomon, contains lists of Goetic keys, magic sigils, seals and pentacles thought
useful when invoking spirits. All such symbols were used in the construction of amulets and
talismans, which influenced the design of magic sigils called Veves that are still used in the modern
Voodoo or Voudun tradition.

The sum total of all the esoteric thought of the Medieval and Renaissance world was expressed in the
cult of the Hermetic Order of the Golden Dawn and grand magician Aleister Crowley. The resonance
of such 19th century cults and personalities of ritual magic was paralleled by the pagan revival of the
20th century. Neopaganism began in northern Europe when pagan and pseudo-pagan scripts were
employed as oracles. These two schools of 19th and 20th century mysticism were brought together in
the cult of Chaos magic and its philosophy of sigil creation based on gnosticism which is transmitted,
across the globe, via the internet.

Prehistoric magic symbolism I-Ching, pictogram to trigram

Universal magic symbols
Magic symbols from the ancient world
Pythagorean values of the English alphabet
Magic writing from the Medieval and Renaissance periods

Goetic sigils, seals and

pentacles
The revived neopagan Anglo/Saxon Futhorc Magic Writing 9
Symbolism
THE MYSTERY LANGUAGE of magic is symbolism. It is a language we all recognise but few of us
are fluent in. The majority of symbols that exist today were created long ago. They represent the
movements of earth and heaven, the four seasons and representations of cosmic and earthly deities.
Over time they have aquired layers of increasingly complex meaning.

By understanding the basic signs that make up the more complex symbols we find that they are based
on a common symbolic alphabet, composites created from smaller symbols. These basic signs are
categorised as open or closed, straight or curved, crossing and non-crossing. They cannot be open or
closed signs at the same time.

Basic signs

All symbols are formed from seven basic shapes which are variations of the dot and line or egg and
sperm. The dot, line and circle are the most elementary of these. They are the parents from which all
others have evolved. The dot, or point, signifies unity, the origin, source or beginning.

The circle is the dot expanded to infinity, symbolising the universe, eternity, unity, eternal motion, the
abyss and nothing. The line, drawn with a single stroke, can be straight, wavy or zigzag. The vertical
line is the active, dynamic principle: the body erect. The horizontal line represents the passive, static
principle: the body supine. The oblique line is halfway between the vertical and the horizontal. A
wavy line and a zigzag are not the same. A wavy line is fluid and passive, the zigzag is sharp, jagged
and abrupt. An arc is a bisected circle and forms the basis of all lunar symbols; it represents the
feminine, passive, receptive principle, symbolic of the womb and the cup or chalice.

Open signs

There are a select few open signs that retain their original esoteric meaning across all human cultures
from prehistory. The most revered of these is called the sign of signs-better known as the cross. In its
upright form it represents protection, honour, balance, structure, sacredness, unification, choice and
the points of the compass. In its diagonal form it represents protection and the four seasons. Both
forms of the cross can be expanded to render the swastika. Superimposed over one another they form
the 8-rayed star, the archaic symbol for God, heaven and king.

The arrow is an expression of movement and direction, pointing the way, and is used to symbolise
life and death. When two forked signs are combined, they create symbols that attract and repel each
other. The spiral is a single, curved, non-crossing open line that is radically symetrical. Its primary
function is to describe the origin of the Universe by following the path of the Sun. It symbolises
expansion, contraction, creativity, the feminine, a journey.

Closed signs

Closed signs refer to the geometric shapes – circle, square, triangle, star – to distinguish them from
open signs such as the cross, arrow and spiral. Hermetic magic employs geometric shapes as
 Another Random Document on
Scribd Without Any Related Topics
over. Not all felt that they could buy one, but those who did were
generous with them and it was not unusual to see a group
gathered around, peering over shoulders to look at the pictures
of groups or individuals, taken some time back, when the
camera men came out to the school.
Betty and Carolyn secured their copies among the first and
plumped down in seats in the auditorium at the close of school
to look at them. Mary Emma and Selma were standing behind
them, bending over with interest; and not far away Chet and
Budd were chuckling over a copy. Naturally, their own individual
pictures with their class were of first interest. “Oh, Betty!” cried
Mary Emma, “that isn’t half as pretty as you are, but it’s pretty
good after all! And look at mine—there—on the same page. Isn’t
that awful! I’m just smirking! Somebody had made me laugh and
I was trying to get over it and just smile a little.”
“Wait till you see mine,” said Carolyn, “before you shed tears. I’m
the crossest girl you ever saw, so far as mere looks are
concerned.”
“Why, Caroline, you just look serious. Of course, you usually
don’t, but what is a little thing like that?” This was Betty.
Exclamations and some laughter were the order of the next few
minutes. Some of the teachers looked “wonderful” and others
“you wouldn’t know at all.” But the book as a whole was
eminently satisfactory, with its individual recognitions and
personal history as well as the account of the year’s progress
and activities. Betty would add hers to the other two reposing at
home. One more would complete her high school record.
While they still looked at the book, Lucia Coletti opened the
central auditorium door and looked in searchingly. “Oh, here you
are, Betty. Peggy said that she thought you hadn’t left the
building yet. I’ve something important to tell you, Betty. Can you
come out to dinner with me? I can telephone home for you if
you will. I can get the telephone in the office now. They said I
could.”
Lucia’s voice was trembling with suppressed excitement, but the
girls, still engaged in the pages Betty was turning, did not notice.
Selma was talking to Mary Emma and some of the art work by
the students themselves was being commented upon.
Betty handed the book to Selma. “You can finish looking at it,
girls, and I’ll be in the hall as soon as I go to my locker a minute.
All right, Lucia. Telephone, or get Mother on the line for me, if
you like. I’d love to come.”
Betty fancied that there might be some development relative to
the Sevillas, now comfortably settled. But she was mistaken. As
the two girls left the high school building, Betty with her Star
under her arm, Lucia in the lowest tones told her that she had
received a telegram.
“It was telephoned out to school, addressed to me at Lyon High,
and the office telephoned to the home room, you know, to have
me stop after school. It isn’t signed by anything but an initial,
but it is from my father. It was sent from New York. Here it is.
You can read it in the car, but don’t say a word before the
chauffeur.”
“Then your father is coming!” said Betty in a surprised whisper.
“Yes. I want you, because Mother has been sick all day, just
worn out with all sorts of things, chiefly late hours and all the
things that are going on. She is really better than she was
yesterday, though. Now she might want me with her, and I must
have somebody there that knows, so that one of us can be ready
to—oh, well, with just the butler there he might send in a card
and Mother wouldn’t see him or something. And she’s got to!”
Betty laughed a little at Lucia’s determination. But it was a
matter of the most importance to her friend. “Good for you,
Lucia. And I imagine if they once see each other——”
Betty broke off, for they had reached the waiting car which so
often called for Lucia. She unfolded the piece of paper on which
the telegram had been copied down as dictated over the
telephone. “Coming. Beach house about six. Surprise. X.” The
periods were represented by the customary “stop.”
“I can’t imagine a certain person’s arriving anywhere that early
in the morning,” said Lucia, “so it’s tonight.”
“In that case, Lucia, I may not stay to dinner. I’d be a fifth
wheel, but oh, I’m so glad.”
It was no time before the girls were at the Murchison door. Betty
made herself at home in Lucia’s room while Lucia went to see
her mother, the “X” of the telegram, who was to be surprised.
Doubtless that was only intended as a public caution, designed
to prevent the telegram’s being relayed home.
Lucia came back in high spirits. “You ought to see my mother,”
said she. “She’s up and in the most adorable negligee you can
imagine. She may dress for dinner. Uncle is to be late. It couldn’t
happen better. Now if the ‘long-absent’ Count Coletti is only on
time! Mother was so mad at that in the paper once.”
Lucia’s dark eyes sparkled and her cheeks were hot. Betty said a
little prayer in her heart that her friend might not be
disappointed with the result. “Mother’s been desperately lonely
and restless lately and has been on the go nearly all the time,”
continued Lucia. “Come on; we’ll go downstairs and wait. You
must be right there and don’t stop keeping an ear open for the
door, if I’m called to Mother or for anything else. Sometimes the
housekeeper wants to see me if she can’t disturb Mother.”
This was all very thrilling. Lucia could not keep still or very far
away from the front window. At the sound of an automobile on
the drive, both girls went to the window. It might be Mr.
Murchison, of course, or almost anybody. But no. “It’s a taxi,”
Lucia tensely whispered.
On it came, stopping before the entrance. The driver descended
from his seat and opened the door. There was a little delay as
the passenger was paying before leaving the taxi. The driver was
receiving a bill, which must have included a good tip, from the
impressive manner and extreme courtesy which followed on the
part of the driver. He took out two grips and stood aside to let a
slight, distinguished-looking man pass him and go up the steps.
He followed, but Betty saw that the butler had opened the door
to go out.
Lucia had waited only to see who stepped from the taxi. She was
out into the hall, down the steps and in the arms of a surprised
father before one would have thought she could reach him. The
butler, too, was smiling and welcoming the count. “Why, he was
probably here when they were married,” thought Betty. “Of
course, but Lucia had never thought of it!”
Invited to have a share in this arrival, Betty felt quite justified as
she happily watched from the window seat, having a good view
from the windows that projected in a sort of rectangular recess
at the part of the room nearest the hall.
The door into the hall stood open, but Betty did not come into
sight as they entered from without. She wondered if there would
be any delay. Would the count go straight to his wife’s room?
What would happen? She could hear the rapid Italian in which
Lucia and her father were speaking. The butler spoke in his
accustomed low tones, but with some excitement, too. It was
being explained to him. Then up the stairs Lucia and her father
went, the butler following with the grips. It was probably the
intention to take the count to the proper guest room first, but a
door opened and the Countess Coletti asked, “Lucia, who came?”
as Lucia was in the lead of the silently coming party.
Then the countess caught sight of her husband. “Oh, my dear,
my dear!” And the rest was in Italian. In the tenderest of tones
the count was addressing his wife.
Lucia came rushing down the stairs to throw herself upon Betty
and cry. “Oh, I can’t help it, Betty!” she cried between little sobs.
“It is all right at last! She was glad to see him and he just
gathered her up in his arms! I think she is crying, too!”
It took Lucia only a few minutes to gain her self-possession and
explain further. “My father says he has come to ‘get us,’ as you
said, Betty, but he will stay a while if it is all right with Uncle to
let me finish my school. He told me that right away. But the main
thing was to find out whether Mother would receive him or not.
Of course, we could not mention that before the butler. He knew
my father. Wasn’t that nice?”
Betty was merely a happy spectator, but Lucia would not let her
go, and when at last, after she had been called to her mother’s
room for a small family reunion and had come back to Betty a
thoroughly happy girl again, she ran to meet her uncle, who
came in just then. “Oh Uncle!” she cried, “my father, the Count
Coletti, is here!” How proudly Lucia spoke, and there was a little
of question in her voice.
“Thank heaven!” replied her uncle, of whose reception of her
father she had been so doubtful. “It is high time! I hope he can
manage her. It’s beyond me.” But Betty knew that Mr. Murchison
was laughing as he spoke. “Tell him that we’ll kill the fatted calf.
Have you told the housekeeper?”
“I never thought of it, but the butler knows and he does
everything or sees to it, you know.”
And at dinner, when Betty had met the count and he had told
her that he already knew her as his daughter’s best friend, one
little speech of the countess amused her very much.
“Think, Buddy,” she said using the old term of her childhood for
her brother, “think, Buddy, what a social asset he’ll be while we
stay!” And with perfect understanding now, Count Coletti looked
at his wife and smiled with the rest.
In the course of the conversation, which consisted chiefly in
drawing out details of Count Coletti’s African experiences, it was
hinted that Lucia might return after a summer in Switzerland to
finish her course in the American high school. Betty modestly
expressed herself as hoping that she would, and the countess
said, “We shall see.”
Truly life was full of thrills to Betty Lee. There was still school to
be completed. Chet would get his diploma; and should she have
some little remembrance for Chet in honor of his graduation, or
not? She would ask her mother. One more year and she would
have a diploma, too! But first she had to be Betty Lee, senior.
*** END OF THE PROJECT GUTENBERG EBOOK BETTY LEE, JUNIOR
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