The Goetia

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 (ze. 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 into 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. Ai brief inscription follows in the Punic character. The Punic or Carthaginian language is usually considered to have been a dialect of Phoenician, and Carthage was of course a colony of Tyre. Beneath the Punic 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 37