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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 Musëe 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.
