answering to Pisces.

Therefore the figures of Mars will be strong in the First House, but
weak in the Seventh House, and so forth.

Caput Draconis is strong in the dignities of Jupiter and Venus.

Cauda Draconis is strong in the dignities of Saturn and Mars.
Remember always that if the figures Rubeus or Cauda Draconis fall in the Ascendant,
or First House, the figure is not fit for Judgment and should be destroyed without
consideration. Another figure for the question should not be erected before at least two
hours have elapsed.
Your figure being thoroughly arranged as on a map of the heavens, as previously
shown, note first to what house the demand belongs. Then look for the Witnesses and the
Judge, as to whether the latter is favorable or otherwise, and in what particular way. Put
this down.
Note next what Figure falls in the House required. Also whether it passes or springs
— that is whether it is also present in any other House or Houses. These should also be
considered — as for example in a question of money stolen, if the figure in the Second
House be also found in the Sixth House, it might also show that the thief was a servant
in the house.
Then look in the Table of Figures in the Houses and see what the figure signifies in the
special House under consideration. Put this down also. Then look in the Table for the
strength of the figures in that House. Following this, apply the astrological rule of
aspects between houses, noting what houses are Sextile, Quintile, Square, Trine, etc.
Write the “Good” on one side and the “Evil” on the other, noting also whether these
figures also are “strong” or “weak,” “friendly” or “unfriendly” in nature to the figure in
the House required. Note that in looking up the aspects between houses, there are two
directions, Dexter and Sinister. The Dexter aspect is that which is contrary to the
natural succession of the houses; the Sinister is the reverse. The Dexter aspect is more
powerful than the Sinister.
Then add the meaning of the figure in the Fourth House, which will signify the end of
the matter. It may also assist you to form a Reconciler Figure from the Figure in the
house required and the Judge, noting what figure results and whether it harmonizes with
either or both by nature. Now consider all you have written down, and according to the
balance of “good” and “evil” therein form your final judgment.
Consider also in “money” matters where the Part of Fortune falls.
For example, let us consider the figure previously set up and form a judgment for
“Loss of money in business” from there.
Populus is the Judge, and we find that in questions of money, which concern the
Second House, it signifies “medium good.” The question as a whole is of the nature of
the Second House, where we find Carcer. We then discover that Carcer here is “evil,”
as showing obstacles and delays. The Part of Fortune is in the Ascendant with Amissio,
signifying loss through the querent’s own mistake, and loss through the querent’s self.
The figure of Amissio springs into no other house, therefore this does not affect the
question. “Carcer” in the Second House is neither “strong” nor “weak”; its strength for
evil is medium. The figures Sextile and Trine of the Second are Conjunctio, Fortuna
Major, Fortuna Minor, and Acquisitio, all “good” figures, helping the matter and
“friendly” in nature. This signifies well intentioned help of friends. The figures square
and opposition of the Second are Fortuna Minor, Conjunctio, and Albus, which are not
hostile to Carcer, therefore showing “opposition not great.”
The figure in the Fourth House is Fortuna Major, which shows a good end but with
anxiety. Let us now form a Reconciler between the figure of the Second House, which is
Carcer, and the Judge, Populus, which produces Carcer again, a sympathetic figure, but
denoting delay—delay, but helping the querent’s wishes. Now let us add all these
together:
1. Medium
2. Evil and Obstacles, delay.
3. Loss through querent’s self.
4. Strength for evil, medium only.
5. Well-intentioned aid of friends.
6. Not much opposition from enemies.
7. Ending—good; but with anxiety.
8. Delay, but helping querent’s wishes.
And we can formulate the final judgment:
That the querent’s loss in business has been principally the result of his own
mismanagement. That he will have a long and hard struggle, but will meet with help
from friends. That his obstacles will gradually give way, and that after much anxiety he
will eventually recoup himself for his former losses.

geomantic steps in divination

1. If Rubeus or Cauda Draconis in Ascendant, destroy the figure.
2. Note the House to which the question belongs. See if the figure there springs into
another house.
3. Form the Judge from the two Witnesses.
4. Part of Fortune—that is, if a money question.
5. See if figure in House concerned is “strong” or “weak.” If it pass or spring into any
other house.
6. See figures Sextile and Trine, Square and Opposition.
7. Friendly or unfriendly.
8. Note the figure in Fourth House, signifying the end or outcome.
9. Form a Reconciler from Judge and the figure in House to which the demand
appertains.
Note: Although this whole instruction of Geomancy describes the process as being
performed throughout on paper with a pencil, yet it should be remembered that this
description is but a makeshift for the convenience of the unenterprising student. By
definition, Geomancy is a scheme of divination by and through the Element of Earth.
Therefore the student with initiative, to whom this method appeals, should act
accordingly. Let him therefore prepare a quantity of clean and dry black earth — or
desert sand, if possible, but not that taken from the seashore—and also a tray or wooden
box which is to be reserved solely for the purpose of housing this consecrated earth.
The outside of the box might be decorated with sigils or symbolic paintings in harmony
with the general idea, and painted in the four Malkuth colors. A small slender wand,
pointed to make clean sharp holes or markings, should be prepared since it will be with
this instrument that the sixteen lines of dots or holes in the earth will be made. When all
has been duly prepared, the box of earth should be given a ceremonial consecration; the
student who has studied the general formulae of consecration will know exactly what
should be done.
In actual divinatory practice, the invoking Earth Pentagram enclosing the Sigil, and the
sixteen rows of dots from which the Four Mothers will be formed, can be quickly
marked on the earth with this special wand or pointer. Then, for convenience’s sake, the
student can transfer these four primary figures to paper, calculate the remaining eight
figures to be placed on the map and proceed to judgment exactly as this instruction lays
down. Experience shows that the actual use of earth as a means of forming the
fundamental magical link between the initiated diviner and the Geomantic divinatory
genii is psychologically more valid and effectual than with paper and pencil, besides
yielding far more satisfactory results. (I. R.).

the art of interpretation

We have moved from simplicity to complexity, and it is up to you which form of
Geomancy you will use—from the intuitive reading of a simple casting of pebbles or
formations in dirt or sand to the complex and sophisticated operations that have taken up
most of this chapter.
Even though the more complex process results in a single figure that can be interpreted
based on the nature of the question as determined by the house meaning as given on page
278, and the related readings for the final figure, there must always be an element of
intuition in all divinatory work.
“Divination” is ultimately a referral to the Divine Source of all, and the art of
interpretation ultimately invokes our intuition for the final understanding of the answer
to the question.

ritual in association with geomancy

Earlier in this chapter we mentioned the importance of some kind of ritual, prayers or
meditation. A ritual need not be elaborate—what counts is a statement to your Self and
to the Universe of your intention to ask a question and look for an answer. It can be as
simple as that or as elaborate as you want—so long as the elaboration doesn’t get in the
way! That, unfortunately is the trouble with many rituals. Instead, remember the KISS
principle: Keep It Simple Sweetheart.
The Hermetic Order of the Golden Dawn recommended a very simple but
Qabalistically based ritual consisting of three actions:

geomantic golden dawn ritual of operation

Step 1. Invoking the God ruling the Earth Element, since Geomancy is Earth-based
divination.
(You may prefer to call upon a Pagan Earth deity, or the Universal God or Source
of All, or working with the aspect of God attributed to Malkuth on the Tree of Life. That
divine name is Adonai ha Aretz, Lord of the Earth. This is pronounced ah-doh-nye hah-
ah-retz, and softy “vibrated” in a lower than usual to you tone with a vibrating
movement in the back of the throat. The awareness should be of exaltation, connecting
Self with the God.)
 Step 2. Tracing the invoking Earth Pentagram.

(The invoking Earth Pentagram, a five-pointed star of interlaced lines, single point
upward, is illustrated in the following diagram showing the movement of the extended
arm holding the stylus or pencil used in the divination, or using your pointed index
finger in one continuous, unbroken movement (1) from the top point downward to the
bottom left point, and then (2) up and over to the right cross point, (3) straight across
from right to the left cross point, (4) down and over to the bottom right point, and (5)
completing the connecting movement up to the top point again.
The Pentagram can be drawn either in the air before you, or circumscribed about
the sandbox or work table where you are doing the divinatory work.)
Step 3. Summoning the appropriate power ruling the question being asked.
(The most difficult action involves determining which Power rules the nature of
the question being asked. Refer to the table of Geomantic Attributions on pages 273–
274, and from the meanings given for the Geomantic figures in the far right column
select that which seems closest to the concern of your question. Then, on the same line,
cross over to the two far left columns giving the Sigil and Name of the Ruler. The Sigil
is to be inscribed in the center of the Pentagram while the Name of the Ruler is mentally
vibrated several times.)
Just as you may utilize a simple form of Geomantic divination, so you may also keep
your ritual simple. You can combine what you have learned in this chapter with a simple
prayer or statement of your intent and appeal to the God and Power that you believe to
be appropriate, or you can follow the Golden Dawn ritual described above. You are the
Geomancer, and it is your choice.

sources and recommended reading

Christopher Cattan, Geomancy (c. 1558).
Chic and Sandra Tabatha Cicero, The Essential Golden Dawn (Llewellyn, 2003).
Nevill Drury, The Dictionary of the Esoteric (Watkins, 2002).
John Michael Greer, Earth Divination, Earth Magic: A Practical Guide to
Geomancy (Llewellyn, 1999).
John Michael Greer, The New Encyclopedia of the Occult (Llewellyn, 2003).
Carl Jung, Modern Man in Search of a Soul (Harcourt, 1933).
Israel Regardie, Practical Guide to Geomantic Divination (Aquarian, 1972).
Israel Regardie, The Golden Dawn—the Original Account of the teachings, Rites
& Ceremonies of the Hermetic Order, 6th revised and corrected ed. (Llewellyn,
1989).
Priscilla Schwei and Ralph Pestka, The Complete Book of Astrological Geomancy
—The Master Divination System of Cornelius Agrippa (Llewellyn, 1990).
Stephen Skinner, Geomancy in Theory & Practice (Golden Hoard, 2010).
Bill Whitcomb, The Magician’s Companion (Llewellyn, 1993).

[contents]
geomancy
* Note: These geomantic rules are those of classical astrology. Thus, the recently discovered planets Uranus,
Neptune, Pluto, Chiron, etc. should not be substituted for the classical rulerships. —C.L.W.
 What Your Handwriting
Says About You

the two powers of divination

In an age when handwriting has all but been replaced by the computer and the smart
phone, even among young children, you may well ask why we have a chapter on
handwriting analysis (also called “graphology”) in a book on psychic empowerment.
This section of the book is primarily concerned with the “tools” of divination which,
for most people, mean ways to answer questions about past and future by means of Tarot
cards, Runes, the I Ching, Dowsing, Geomancy, etc. These Tools complement the
Techniques (Aura Reading, Dream Interpretation, Clairvoyance, etc.) of the first section,
and often the tools “partner with” particular techniques. Certainly reading the Tarot
invites and develops your Clairvoyant skills.
Throughout the book we’ve made two points:
the two powers of divination
1. The power of divination is not in the “tool” but in the different way in which each
divinatory method calls upon the subconscious mind and organizes a segment of the
conscious mind, building a semi-permanent “channel” between the two. This facilitates
the process of Psychic Empowerment, and as such becomes Self-Empowerment.
2. Each system, and thus each tool, becomes a means to self-understanding, i.e.
knowledge about Self, which in turn is creating a structure bringing Self into union with
the Soul.
Sure, absolutely, divination is also a practical means to understanding the
circumstances of the moment and from that determining a course of beneficial action for
yourself, your family, your business, even for your community and your country. We
don’t call it “fortune telling,” but for all practical purposes divination can become an
important part of your “fortune building”—acting to improve your life in all aspects,
including career, financial management, relationships, spiritual communication, and
much more. But, your greatest fortune is in structuring and empowering the Whole
Person to become fully integrated with the Soul.
This thought deserves some further development. Think of the Soul as an immense and
preexistent entity that is the “super you,” while the “familiar, everyday, you” is a
temporary entity being structured and enlarged by the lessons and experiences of life
after life to eventually become a suitable home for the Soul. Then, union is possible.
There are many different names for this, including Ascension, Becoming One, the
Divine Marriage, Glorification, Grace, etc.

handwriting as a method of
communication and recording
As recently as a half-century ago, Handwriting Analysis was a scientific method of
character study used to determine a candidate’s suitability for a job, in psychological
testing and analysis, for career guidance, as a forensic aid in criminal investigations, in
considering relationship probabilities, in determining honesty in response to questions,
and even in medical diagnostics.
Before the dominance of the computer in communication, children were taught
penmanship and the art of writing. Even though most schools used the Palmer method of
repetitive copying exercises, every child’s handwriting was quickly seen to be a unique
expression of individuality.
Even expert forgery can be detected by expert handwriting analysis.
Fast forward to today. Yes, children are still taught to write, but there is less
emphasis on penmanship because we all know that it is no longer the pen that does the
talking. Communication is facilitated by the use of keyboards of various sizes and
degrees of mechanical or touch interaction. Some communication is facilitated by
dictation software, translating speech into words on the screen and duplicating the
action of the keyboard, and some devices translate words on the screen into audible
speech to aid the sight-handicapped. Some e-book readers will read a book aloud if you
choose.
In the final analysis, most communication, record keeping, data retention and storage,
and everything related to information technology is digitalized and facilitated either by
the “smart” phone in its various incarnations or the “electronic” keyboard.

handwriting today
While some personal identification techniques are by means of digitalized fingerprints
and eyeball views, and other times by e-mail addresses and passwords, we still mostly
sign checks, contracts, and reports with a handwritten signature. And we often make
handwritten notes of conversations over the phone and during meetings. And, some
people doodle. Also, many people write affirmative statements beginning with a strong
“I.”
In all of this, the signature, the handwritten “I,” and the doodle remain as strong
methods of self-identification and self-expression—and hence of Self-Analysis.
 Analysis leads to understanding, and understanding provides an avenue for self-
improvement. As humans, we have to accept that we are not finished products but are
beings in the process of becoming more than we are. Self-improvement is our job and
our obligation. Given Vision, Choice, and Will, we become partners in the continuing
evolution of the human being, both as individual persons, as members of our human
community, and of universal consciousness. We are not alone, but it is as the lone
individual that we have the power to grow, and then “alone and together” we have the
power to evolve.
This recognition has moved from the metaphysical to the scientific. Dennis Bushnell,
NASA’s chief research scientist at its Langley Center, has written: “Humans are now
responsible for the evolution of nearly everything, including themselves … The ultimate
impact of all this upon human society will be massive and could ‘tip’ in several
directions” (speech at World Futurist Society’s Annual Conference, July 8, 2010).
In addition to handwriting analysis, there is a more recent application called
“Graphotherapy,” in which deliberate changes made in handwriting are used to change
attitude, behavior, and self-image, and even bring about physiological changes.
Sentences structured around the personal pronoun “I” are not only positive affirmations
energizing change, but also provide visual feedback of the changes affected over time.
It is not our intent to provide a full course in either handwriting analysis or
graphotherapy as counseling techniques, but we do want to provide a basis for self-
study and personal application.
We perceive our study of handwriting in five divisions.
the main elements of handwriting analysis
1. The analysis of handwritten sentences and paragraphs, mainly in personal notes.
2. The analysis of handwritten signatures as commonly used to legally affirm a
contract, transfer funds, and to confirm or acknowledge the details of a report.
3. The analysis of the energy embodied in the written pronoun “I” as in statements of
affirmation, promise, and commitment, often used in self-hypnosis.
4. The analysis of handwritten affirmative statements as a baseline, and then the
modification of particular elements to change mental, emotional, and physical states.
5. The analysis of hand-drawn shapes, figures, symbols, and patterns known as
“doodles.”
While the study of all these forms of handwriting has indeed developed in a scientific
manner rather than as a psychic power, we also want to emphasize that the general rules
of its practice conform to common sense to a greater extent than nearly any other form of
divination, and in its present form it does call upon the subconscious mind and psychic
perception.
It is a situation benefiting less from study and more from practice and observation than
any other of our subjects. You, and you alone, are the best subject for this and our entire
approach is toward your personal psychic empowerment, and hence self-empowerment.
If you want to study graphology further, there are references provided at the end of the
chapter.

handwriting analysis
First of all, handwriting refers only to writing and only rarely to hand printing. Your
writing sample is most likely to be a note taken at a meeting or as a summary of a phone
or other conversation; the more spontaneous it was, the better. Look at the whole sample
like a picture in a frame; turn it sideways, upside down, from the back side, any way
you want. Your analysis starts with simple observation and your impressions: Is it
orderly, neat, messy, unbalanced, heavy? Write down your impressions. Does the
writing appear fluid or rigid, natural or stilted? Is it balanced and symmetrical? Is
the use of white space harmonious? Does the writing feel rhythmic? Write your
impressions.
As you notice different factors that seem unusual, write the same thing yourself (even
if you wrote the note originally) and see how it feels. Write your impressions.
Zones
Handwriting analysts break the handwriting into zones. We are not going to give you
complete instructions, but there will be enough so that you will understand the process,
and have enough both to apply common sense and to call upon your intuition for a
complete impression. In all divinatory work, it is essential to write down the steps you
have taken and note your observations and impressions. You will want to review them
later so that you see the whole and are not swayed by the last few observations.
Remember: you are your own best subject for study and your own best counselor for
growth. You are your own best scientist, and the growth you yourself achieve
contributes to universal consciousness.
Zones are the portions occupying the main area of the writing, and then those above
and below, and are viewed symbolically for the energies expended in particular areas
of the writer’s life. All references are to uncapitalized letters.
All letters occupy the middle zone, while b, d, h, i, k, l, and t extend into the upper
zone and g, j, p, q, y, and z extend into the lower zone; occupying two zones, these
letters are called bizonal. The f is considered trizonal, occupying all three zones. Most
capital letters are bizonal using the middle and upper zones except for J, Y, and Z which
are trizonal.
It is essential to remind you that no matter how objective an analytical factor might
seem, our observation of that factor is essentially subjective. In other words, don’t get
carried away by the seeming opportunity to micromeasure the extent a letter reaches into
the upper or lower zone, the line or word spacing, the exact angle of a letter slant, or the
depth of the writer’s pressure upon the paper. Instead—and this applies equally to the
analysis of your own writing and that of others—observe and feel what these things are
saying to you.
Upper Zone identifies with the superconscious mind—the mental, spiritual, political,
and intangible areas of life.

Middle Zone identifies with the conscious mind—the mundane matters of daily life,
with social relationships, and conscious choices.
 Lower Zone identifies with the sub-conscious mind—the basic biological drives and
desires, sex and sensuality, sports, and material matters of money and consumer
comforts.
 Now, just because a written sample has a lot of g’s, j’s, p’s, q’s, and y’s, we do not
have an indication of an extremely sexual person—after all, we are all sexual beings
and our language is filled with these particular letters. However, the height, depth,
pressure, and other factors may give us a subjective feeling about the person’s sexual
interests. But remember that all teenagers and younger adults are extremely interested in
sex, and so let common sense enter into your analysis. By practicing with your own
handwriting samples you will better appreciate the subtleties involved in analysis.
As the writer’s b’s, d’s, h’s, and other letters reach into the upper zone, we will again
learn not to overreach in our analysis to declare the writer a mental genius or spiritual
guru. Observe and note your feelings, and learn as you practice on your own writing
samples.
Returning again to the upper zone, it is a concentration or emphasis or a lack of it that
relates how the writer addresses those areas in his life. Extremes that show departures
from the ordinary in writing style are reflected in the writer’s actions, thoughts, and
feelings about science, politics, spirituality, philosophy, etc., and indicate degrees of
abstractness, imagination, creativity, and fantasy. Large, full, upper-zone letters
generally indicate a thoughtful and imaginative approach to these interests.
Back to the middle zone—it is how the letters are written, accentuated, shaped, and
placed that relates to the writer’s mundane life. If they seem to carry more weight than
letters in the upper and lower zones, it may indicate a particular interest and action in
social relationships rather than in the “higher” intellectual and spiritual aspects or the
“lower” material drives.
In contrast, smaller, less-accentuated letters (in relation to those in the upper or lower
zones) suggests neglect of mundane matters (clothing, appearance, health, diet, home,
etc.).
While the lower zone contains the lower extensions of bizonal letters, and “f,” it is
extremes in length or boldness of weight that may indicate that more attention is given to
the biological drives. Extremes in pressure indicate the intensity of desire; extremes in
the slant reflect the frequency of need; and in width the amount of thought involved.
Full, long, and wide lower loops signal an active imagination and probably a
gregarious nature; possibly someone who likes being “seen,” such as an actor, athlete,
or news anchor. Unusual lower loop formations suggest eccentricity or repression. Very
short lower loops suggest a disregard for basic drives and the material world.
Again, experiment. Try writing in these different ways and check your feelings. Ask
others to let you see their notes of a conversation you’ve shared. Practice, and test your
observations.
Baseline Slant
This reflects the writer’s emotional state and the extremes of optimism or pessimism. If
the writing sample runs parallel to the top and bottom of the paper, he is probably
reliable, even tempered, in control of his emotions, and acts reasonably. When the
baseline of the writing sample slants upward to the right, the writer is probably
optimistic, joyful, invigorated, and feeling loved. When the baseline slants downward to
the right, the writer probably feels pessimistic, fatigued, depressed, and may be feeling
ill or unloved.
Letter Slant
This relates to the writer’s emotional direction and degree of emotional control. A
vertical slant suggests the head controls the heart, and that the writer has a matter-of-fact
approach to life and is able to control emotions in critical situations.
A moderate right slant shows confidence, extroversion, and affection, but an extreme
right slant suggests a lack of self-control, impulsiveness, intensity, and super sensitivity.
A moderate left slant shows a reflective nature, one who is objective and independent,
and perhaps is inhibited, choosy, and lacking in self-expression. Irregular slanting
shows the writer to be unpredictable and uncommitted.
Letter Size
This projects the writer’s self-importance and claim to space; vertical height shows
striving for stature; horizontal shows the amount of “elbow room” needed. A tall letter
suggests the writer is ambitious and farsighted. Wide letters may show lack of
discipline, sociability, and tactfulness. Small letters show someone who is analytical,
modest, thrifty, and meticulous. Narrow letters suggest restriction, conservatism,
inhibition, timidity, and perhaps a suspicious nature. Irregularity in size reveals
moodiness, unpredictability, and a vivacious and excitable nature.