Sunday, March 27, 2022

The Practical Uses for the Mansions of the Moon

    So much of my magical attention has been trained on the Mansions of the Moon lately. If one were to dig through the archives of this blog one would find references to the Mansions of the Moon years and years back but for the past year and a half the Mansions have been the center of my focus; the names, the images, the spirits. I continue to dig into the star lore, the magic, and the thinking behind the Mansions in a concentrated effort to learn as much as I can and try to understand them. I am just now getting to the point where I have an idea of how much I don’t know and how vast the amount of things yet to learn. But understanding needs to have a starting point and a process and so, here I am, working through trying to understand them. 

Let’s work through some of the ideas and insights I’ve stitched together from various sources or invented myself to see if I can make sense of any of it. Organizing my thoughts for public consumption will help me question my assumptions and lines of thinking. Explaining things to you will help me understand them. In the spirit of the Moon I reserve the right to be irrational, obscure, or cryptic as the mood strikes me. 

I will begin with a general idea, an abstract, thousand foot level question to kick things off. No doubt we will wade through the weeds of minute detail as we progress but I need to define some broad outlines first. I need some big shapes to get my figurative hands around before we drill down into the pith of individual Mansions. 

At this point I am not going to get into what the Mansions of the Moon are with the hope that you are at least somewhat familiar with the idea of the Mansions. For those of you unfamiliar with the concept 

Why bother with the Mansions of the Moon? This question is probably best answered with practical, concrete advantages and things one might hope to get or achieve by working with the Mansions. From my perspective there are several good reasons why one might go down this rabbit hole. 

The first practical use I'll give is the reason that I started to study the subject in the first place, the Picatrix. The Picatrix says in Chapter 4 of Book 1 that the Mansions of the Moon are essential to working astrological magic. One needs to know the effects and condition of the Moon based on where it is in the lunar zodiac in order to fully understand the potential results and efficacy of a magical working undertaken at a particular time. I infer from the Picatrix that consideration of the Mansions is a basic skill in the performance of electional astrology but in modern times the Mansions are not a big part of Western magic if one is working outside of Chinese, Arabic, or Hindu contexts. And while Chinese, Arabic, and Hindu traditions have immense value, the inclusion of the Mansions of the Moon in the Latin Picatrix and in Agrippa's Three Books of Occult Philosophy hints at a tradition in Western magic that is somewhat forgotten, muted, and struggling to regain a place of prominence. Studying the Mansions of the Moon reestablishes some of the depth and complexity of magic with European roots. 

And I have found that the depth and complexity of the Mansions is profound. In all seriousness one could spend their entire lives studying nothing but the Mansions of the Moon. I am convinced that each Mansion has its own lessons to teach and mysteries to reveal. As I said earlier, the more I study the Mansions the more I realize how little I really know or understand. Part of the purpose of these blog posts going forward will be to try and work out some of the tangle of ideas to find the stepping stones on this path.  

One of the exciting things about the Mansions is that I have found the spirits of the Mansions readily available for communication using either pendulum or tarot cards. In some ways it was almost too easy. Sometimes I would lament what I perceived as a failure in invocation or communication only to realize I was calling to someone who was already there. I started joking that it was like being fish trying to be aware of the water it was in. At all moments of every day the angel of the Mansion in which the Moon is sitting is present and exerting its influence on the world. This realization opened up my perception and suggests the third practical use of the Mansions of the Moon, development of skills. In terms of astrological elections Mansion talismans are considered one of the easier kind to find suitable times to perform. In terms of spirit communication the spirits of the Mansions are readily available to teach and perform tasks. Additionally, other occultists have linked the Mansions to other traditions. Two that I have seen are Jake Stratton-Kent equating each Mansion to a spirit in the Grimorium Verum and Chris Reppucci linking the Mansions to the 28 icons of Hekate initiation mentioned in PGM VII lines 756-794 The Prayer to Mene. I find this idea intriguing that the context of the Mansions can expand into a variety of traditions or practices.  

Lastly, for me, the Mansions of the Moon are a great way to break out of the homogeny of astrology and the standard zodiac. The lunar and the solar zodiacal wheels are related but I have found the Mansions to be much more descriptive of star lore. I have found great value in changing my perspective on the stars in the ecliptic with the Mansions that I didn't so much feel when studying the decans. 

I imagine as I progress with my research and learning that other practical uses will become apparent. These are the most easily identified reasons I have for chasing down the Mansions of the Moon. As this blog moves forward and we explore each Mansion individually more will be revealed. 

Sunday, December 5, 2021

The Moonlit Hermit Tarot, the Spirit Cards

In the Moonlit Hermit Tarot deck there are four cards that are supplementary to a classic tarot deck. These four cards were added as a reward in the Kickstarter campaign and make the Moonlit Hermit Tarot an 82 card deck. Here I will talk about the inspiration behind making them and offer some ideas about how they can be interpreted in a tarot reading.

First off, I feel I should say that this essay is meant simply as a set of suggestions. The four supplement cards are unlabeled and therefore can take on whatever meaning the reader chooses. If the ideas in this essay don't resonate with you feel free to discard them.

Echoes of goetic spirit magic pervade the Moonlit Hermit Tarot. For instance, the hem of the angel in the Temperance card is the "dancing" sigil of the spirit Klepoth from the Grimorium Verum. The four unlabeled spirit cards originally were representations of a set of spirits called the Four Kings. The concept of the Four Kings exists in several cultures and spiritual cosmologies all over the world. The concept is also prominent in the rituals of the medieval European grimoires. In a nutshell, each of the Four Kings is thought to have dominion over spirits that originate in or have their home in the cardinal direction associated with that King. It is not uncommon to invoke the Four Kings in a ritual context as a way of empowering the magician and claiming authority over spirits in their name. 

As is often the case with spirits in sets of four there is a tendency to attribute them to each of the four classic elements; fire, water, air, and earth. Therefore each King has an association with a cardinal direction as well as an element. If one compares traditions one quickly learns there is no one, standard way to associate a King to a specific direction or element. Also the names of the Kings have gone through changes over the years. This was one of the big factors that suggested I should leave these cards unlabeled. 

In terms of divinatory meaning in the deck the Directional Kings denote the spiritual realm and the actions of spirits. In this context "spirit" is very general and may refer to deities, angels, demons, daemons, nature spirits, elemental spirits, or spirits of the dead. 

First up we have the King of the East.

The King of the East rules over the horizon from which all heavenly bodies rise from the Underworld to take their journey across the sky toward the west. It is the ascendant of the zodiacal wheel and is a position of empowerment of astrological spirits. It can represent any of the spirits associated with the Morning Star, Lucifer not least among them, and so a certain amount of dominion over spirits in general. The King of the East is associated with light and the element of fire. 

In our image a figure with a dark yet brilliantly shining body stands among red flames. His pose is at ease. In his right hand he holds out a blue sphere. His head is shaped like a flame and behind it is a halo like a bright yellow sun shining through a red lattice. From the halo extend white shafts of light separating the figure from a blue field and black concentric circles of darkness. 

In divination this card can mean the awareness of or revealing of spirits, spiritual vision, and spiritual authority. It can also indicate spiritual beginnings or the granting of boons or wishes. Power is increasing with this card. It is an active card. 

Next is the King of the South

In terms of the wheel of heaven, south is one of the axis poles on which the heavens turn. The King of the South rules the element of air. This card is active and can indicate the movement and action of spirits or spiritual transitions in general.  

In divination this card can represent the higher, etherial spiritual realms. There is also a bit of a dual nature to this card. Behind the figure, from the upper right to the lower left are delicate green flowers floating on irregular white lines of motion. This is a sweet fragrance carried on a gentle breeze. Conversely, from the upper left to the lower right, two writhing black dragons with tongues like barbed darts curl about themselves. This is a plague wind and spirits who strike on the air. Therefore, in some contexts, this card can indicate a blessing in disguise or a trap hidden in a boon.    

Next is the King of the West.

West is the direction of the setting sun and the entrance to the Underworld for heavenly bodies. It has connotations of Water is the element ruled by the King of the West. It indicates hidden things and things just out of perception, like objects at the bottom of the ocean. This card has connotations of veils, surfaces, and membranes covering unknowable depths. 

Above the head of the spirit is a red and white swirl, the surface of a pool of blood, and through the symbolism of flowing blood this card has connotations of ancestors and family bloodlines. The spirit's face is obscured with a translucent veil that drifts away in wisps. The spirit parts a blue shape that suggests flowing water, which is set between the split of two black, angled shapes filled with swirls. These images remind us that veils may be parted, membranes may be pierced, and hidden things may yet be revealed.   

Lastly is the King of the North.

The King of the North is associated with the element of earth. It can indicate spirits of a place, the nourishing aspects of a spiritualized earth, and the spiritual consciousness that pervades all things in the view of the animist. 

In the Northern Hemisphere the stars in the northern part of the sky never set and so the north has connotations of permanence and stability. This is indicated by the truncated pyramidal form of the lower part of the spirit's body. The pyramid is composed of a lattice structure. It has at its center a long black shape that terminates in root-like reticulations. The spirit's torso resembles a man's with a view of the circulatory system. From his outstretched hands torrents of water flow. 

Foxes have an internal sense of the magnetism of the planet and can innately align themselves with the north and south poles of the Earth. For this reason our spirit has a fox's head. On its brow, a black square, one of the symbols of an earthy Saturn. From behind the spirit's head emanates thin white rays of light that shine from behind concentric webs of darkness. This represents the divine spark in the dross and obscurity of physical matter. 


This is where my thinking is on these cards at the moment. As time goes on, and I and others use the deck more, new meanings and nuances will emerge. Being at this point intuitive cards the spirits themselves will have more say than I do. 

More information on the Four Kings can be found in multiple sources. H.C. Agrippa's Three Books of Occult Philosophy, in Book 2, Chapter 9, The Scale of Four, mentions these kings but gives a slightly different directional attribution to them than I have given above. If I were to have labeled these cards in the deck with the spirit names it would have been Oriens in the East (the blue one), Amaymon in the South (the yellow one), Paymon in the West (the white one), and Egyn in the North (the green one). I fully acknowledge that others use different attributions and so I stand by my decision to leave these cards unlabeled to give them maximum latitude and versatility. 


Sunday, August 1, 2021

Mansions of the Moon, Daily Practice

 There are two ways to approach the magic of the Mansions of the Moon. One is when the magician uses ritual to capture astrological influence to empower a talisman. And the other is in direct spirit contact, calling out to the spirit and receiving responses in return. And while these are two separate avenues of practice there are overlaps and sometimes the distinguishing line between them can be a bit blurred. 

As I conduct research into the details of the Mansions of the Moon I have been supplementing my academic gathering with a simple meditation and mantra using the names of the spirits of the directions of the Moon. Most days I will get myself settled in a quiet spot, sometimes it is sitting in my home office and sometimes it is while I’m alone on a dog walk, and I will use a visualization similar to my work with Perfect Nature, calling a name while envisioning a presence in that place; Hediz above me, Maryuz below me, Meletaz to my right, Timez to my left, Hueyuz in front of me, Menelaz behind me, Dehanuz as a sphere surrounding me, and Harnuz as a point inside me at my heart that connects all the spirits together, like the hub of a wheel. Then I intone the name of the spirit that rules the Mansion in which the Moon is passing at that time. When I have the time and ability I’ll do this for 108 repetitions on a string of mala beads but I do it at least seven times when I can’t do more. 

Invariably when I do this I get impressions and images in response. I find myself accumulating quite a few bits of UPG about the Mansion and its spirit. Sometimes I will try to concentrate on the image for the Mansion as it is given in the Picatrix or Agrippa and sometimes I will simply try to listen to what comes my way. It is proving to be a font of artistic inspiration.

As one might surmise with a mention of doing this while walking a dog there are no candles and no incense. I am certain I will add those elements as I get more involved in the spirit contact part of my research and I am actively gathering incense ingredients. I find, however, that this is a good stepping stone  into a more elaborate Mansions practice. The influence of the Moon is so pervasive that striving to feel it is like pushing a river. The more one tries, the less successful they are. 

Sunday, May 23, 2021

Moonlit Hermit Tarot, Kickstarter Now Live!

 The Moonlit Hermit Tarot, which I have labored on for the past two years, is now ready to go to print. I am getting a Kickstarter campaign underway to fund the initial printing. The pre-launch page is now live and you can check it out here: Moonlit Hermit Tarot

The campaign launched in earnest on Wednesday, May 26th, 2021, on the Full Moon. 

I designed this deck with an eye to divination and spirit communication, the main uses for tarot in my practice. Each card is a piece of collage art made up of razor cut paper and found images from magazines, books, or out in the wild. 

I styled the deck after the classic Tarot de Marseille. The Major Arcana, the Court cards, and most of the Aces are strongly influenced by the classic deck, though some of them might look quite different. 

The Minors are lightly illustrated based on my interpretation of them. In these cases I was most influenced by Alejandro Jodorowsky's Way of Tarot. Aces are the essence of the suit. Twos represent gestation and coalescence of the suit. Threes are the manifestation of the suit. Fours are the stability of the suit. Fives are the change in the suit. Sixes are pleasures of the suit. Sevens are effort and work of the suit. Eights are balance in the suit. Nines are crisis in the suit. Tens are endings in the suit. 

Justice is numbered 8 and Strength is 11. All the figures in the cards face the same direction and their gaze is in the same direction as it appears in the Marseille deck. 

As I worked on each image I kept other examples of the cards close at hand.

Each deck comes with a tuck box and a 40 page Little White Book. 

I have the Kickstarter set to begin on Wednesday, May 26th and will run for 28 days. I am looking to raise $5700 to pay for a print run large enough to keep the retail price to $40. I have an Early Bird reward in which the Moonlit Hermit Tarot is going for $30 for the first week. I also have some add-ons. My Picatrix Decans card deck is 10% off if you combine it with the tarot deck. A sticker pack of 10 designs from my archives is also available as an add-on and I am looking for more things to add. 

For stretch goals if we can reach $8000 the cards will come edged in matte black. If we can reach $10000 then I will include four bonus cards, the Kings of the Four Directions which are my interpretation of the four Goetic Kings, Oriens, Amaymon, Paymon, and Egyn. 

Speaking of goetia, I put some goetic Easter eggs here and there in the deck. For instance, the hem of the angel's garment in Temperance is Klepoth's sigil form the Grimorium Verum. 

 Support this project. Moonlit Hermit Tarot

Saturday, April 3, 2021

Moonlit Hermit Stickers

Some of the reward levels on the Moonlit Hermit Patreon include a monthly sticker subscription when you sign up for $7 a month or higher. Here are the first two sticker designs which will be sent out on the third Friday of the month. Each of these are approximately three inches square.  

Crowned Ouroboros inspired by the Clavis Inferni 

A joyful angel dancing in green flames


Friday, April 2, 2021

The Moonlit Hermit on Patreon

 Hello, Moonlit Hermit readers. It has been some time since I have posted here and even longer since I've posted regularly. This blog has suffered greatly from some of my personal changes. Not that I have given up on magic or making art but I went through a period of lack of confidence about expressing myself about it. In a lot of ways it was an existential journey.   

And like a lot of others, the pandemic has reset my priorities. 

The intertwining of my esoteric studies and my art making have never been more evident. Also evident is how much I need both of them in my life. To help fuel these two metaphoric booster rockets I have started a Patreon in which I will submit more writing and more art. So far there isn't much, mostly because I only started it yesterday.

Sign up to hear about the publishing of a full tarot deck I've made, read more of my occult ramblings, and to hear about updates on my next project, images of the Mansions of the Moon. You can also get stickers and other swag. 

Your support will help propel my work forward. 

I will still keep this blog going, albeit at about the same rate it has been for the past couple of years. 

Wednesday, November 4, 2020

The Rite of Perfect Nature, part 3

Thoughts on the Rite of Perfect Nature
 This is a photograph of a mixture of butter, brown sugar, honey, and olive oil. These are the (modified) ingredients that make up the confection that sits in the middle of the table of offerings for the spirits of Perfect Nature in the rite described in Book III, Chapter 6 of the Picatrix, in both the Latin and the Arabic versions. 

I have said before in this blog that I believe Perfect Nature to be a central concept to learning the ritual format of the Picatrix. I have also already described how I developed a repetitive rite that invokes the four names of Perfect Nature. But what I've never done is the actual Rite of Perfect Nature as it is described in the Picatrix. I really have no idea why I waited so long to try it. It is one of the most explicit things expanded upon in the text. It is almost like being a tourist in one's own town. It was so easy to get to I never bothered to. But let us put excuses aside and look critically at the Rite with an eye toward performing the Rite the next time the Moon enters the first degree of Aries in a few weeks. 

It is interesting to compare the Rite in the Latin Picatrix (Greer & Warnock translation) and the Arabic Ghayat Al-Hakim (Hashem Atallah translation). The passages are nearly identical but the differences in how the translators interpreted their respective sources helps to firm up some of the ambiguous details of actually performing the Rite. Let's look at it line by line. I'll designate the line from the Picatrix with P and the lines from the Ghayat Al-Hakim with G.

G: When the Moon comes down to the level of the Head of Aries at any time in either day or night.

P: When the Moon is in the first degree of Aries, be it by day or by night, whenever you wish, 

These lines are just about the same but they can certainly be interpreted differently. The Head of Aries could indicate the entire first Mansion of the Moon, Alnath. The Moon would be in the first Mansion somewhere between 16 and 25 hours or so, depending on the speed of the Moon at that time. That is certainly a much longer time than the Moon would take to enter and pass through the first degree of Aries, roughly two hours. I like the specificity of the two hour window so I think I'll stick with that. I am choosing to interpret "by day or by night" to mean that the Moon's position in the zodiac is the most important consideration when figuring out the timing of the ritual. And things like planetary hours or other astrological weather is much less important.

G: Enter a clean house and put a table at the eastern corner of the house on a step higher than the ground.

P: go into a house that is clean and splendid, in one corner of which you should put a raised table on the floor, toward the eastern side. 

A clean house, or a clean and splendid house, is one that is prepared. I am interpreting this to indicate that the ritual area should be formally cleaned, blessed, and consecrated. I find the detail of needing to be indoors a curious one. It is for this reason, among others, that suggest to me that this rite is best thought of as internal to the magician performing it. 

The table is a little more ambiguous and could open to interpretation. I suspect anything from a footed tray to a dining room table would be appropriate. It needs, however, to be raised from the ground. We could interpret this to mean it needs to be up off of the ground if you had a dirt floor, in which case most modern buildings would suffice, or it needs to be higher than the regular standing level of the floor, in which case one could put something under the feet of the ritual table similarly to how John Dee described his ritual table, using seals made of wax, paper, wood, or something else separating the table from the floor. 

G: Then take four cups; each cup has to be able to hold a whole pound. 

P: Take four pitchers (each of which should hold one pint). 

This is pretty straight forward. I would submit, however, that the volume may be open to adjustment. Just as the incense recipes have some incredible amounts listed (6 ounces of scorpion brains?) so too the amounts of offerings might be similarly adjustable. I suspect I will use vessels smaller than a pint. 

G: Then fill these cups with four different oils. Fill the first cup with almond oil, the second with butter, the third with walnut oil, and the last with vinegar oil.

P: Into one of them put cow's butter, into the second nut oil, into the third almond oil, and into the fourth sesame oil.

The lists are nearly the same and can be blended to give us almond oil, butter, walnut oil, and sesame oil. This is helpful since nut oil is ambiguous and I have no idea what vinegar oil is. Grape seed oil? 

Does the order matter much? Does there need to be a prep area in addition to the ritual area?

G: Then take another four cups the same size of the first ones and fill them with alcohol.

P: Then take four more pitcher of the same size , and pour wine into them.

Again, quite straight forward. And as my oil cups will be smaller than a pint I think it will be good that the wine cups are the same size. I'll keep that consistent.  

G: Then make a candy made of walnut oil, butter, and lots of sugar, it needs to be sweet and heavy on oil. 

P: Then make a composition of nut oil, butter, honey, and sugar.

This is the composition in the photo at the beginning of this post.  The consistency of it was creamy like the blended sugar and butter of a cookie recipe, definitely not a candy. Perhaps less butter and more sugar and then compressed like maple candy. I knew this would take experimentation so I'll need to try again. Another detail worth noting is that I chose brown sugar as opposed to refined white sugar. Turbinado or some other unrefined, raw sugar would also work. 

G: Then take these eight cups and the candy and a glass vessel. First put the glass vessel in the middle of the table and put the candies on top of it, then put the four cups of alcohol around it facing the cardinal points starting with the east, west, north, and south. 

P: Take the eight pitchers and the mixture you have made, and a glass vessel; put this latter in the center of the table, and put the composition you have made into it. Next put the four pitchers of wine at the four quarters of the table, arranging them in the following way: the first pitcher in the east, the second in the west, the third in the south, and the fourth in the north.

So we take everything from the prep area to the ritual table and start setting it up. The first thing is an empty glass vessel in the middle of the table. Then the candy or butter goo goes into it. Then the cups of wine are set on the table in a specific, cruciform order. The Latin and the Arabic versions differ in the order of directions. I think this is significant if one were to try to equate the names of Perfect Nature with each of the cardinal directions. I've been working from the Latin Picatrix order for several years so I will stick with that. 

As an aside I would like to mention that this cruciform, quincunx model is mentioned several times in the Latin Picatrix. In many cases it sets the magician performing the operation at the figurative center of the universe, approaching the divine. It has a similar function here, I think, and reinforces my belief in its central importance to understanding the magic of the Picatrix. 

G: Then you start with the oils first the almond oil to the east on the same pattern of the alcohol cup, then the walnut oil next to the west, the butter to the north and last the vinegar oil to the south.

P: Then take the other four pitchers; first put the one full of almond oil in the east, then the one full of nut oil in the west; the one full of butter goes in the south, and the one full of sesame oil to the north. 

I think it is significant that the position of the butter stays consistent in each of the systems. This reinforces my supposition that direct correspondences can be drawn between the names of Perfect Nature, the directions, and the offerings. 

G: Then take a candle and light it and put it in the middle of the vessel.

P: Then take a burning candle and put it in the midst of the table.

The candle goes to the table already lit. It is put either right in the middle of everything, which is symbolically interesting, or it simply goes on the table near the middle. If it isn't in the middle of the confection bowl then it should probably be toward the east. In my opinion the candle plays dual roles in this rite. On the one hand it represents consciousness, the divine consciousness of God, the consciousness of the magician, and the consciousness of the spirit of Perfect Nature, all at the same time. On the other hand it too is an offering to the spirits of Perfect Nature as a unity. The candle is for all of them and as all of them partake of it they are conjoined in the symbol of the flame.  

G: Then take two braziers full of coal, then burn in one of them Kandar a good smelling glue and in the other one burn aloe wood.

P: Then take two thuribles full of burning charcoal, into one of which you shall put frankincense and mastic, and into the other aloes wood.  

The use of two braziers raises more questions for me than answers them. Why are they separate? Are they on the table with the rest of the offerings or no? And, if so, where should they be placed in relation to everything else? 

And perhaps I am making too much of the little detail that the charcoal comes to the table already burning, just like the candle, but it tickles at the back of my mind as potentially significant. 

Kandar is a type of high quality frankincense and mastic could be a good smelling glue so the ingredients correspond between the two versions. 

So now everything is on the table. I think it might look a little something like this. 

G: Then stand and face the east and repeat seven times Tamaghees Baghdiswad Waghidas Nufanaghdees

P: When all this is done, stand upright on your feet facing east, and invoke the four afrementioned names seven times. [Meegius, Betzahuech, Vacdez, Nufeneguediz]

The instruction to stand in this part is what led me to suggest a low, tray-like table. I also wonder where the magician should be standing. Presumably one stands in the west since the table is just about against an eastern wall. 

I think it is appropriate to envision each of the spirits in their place at the table as their name is being invoked. 

G: Then say after that: "I call you, you High and Powerful Spirit of Spirits, the Wisest of all Wise, Intelligent of all Intelligence, Knowledgable with the World's Knowledge, answer me and come to me and get me close to your knowledge, make me as wise and powerful as you are, let me understand what I do not understand, let me see what I cannot see and protect me from ignorance, forgetfulness, and cruelty and make me like the Forefathers of Wisdom the ones that had intelligence, wisdom, attentive awareness and understanding in their hearts, let all that live in my heart and never depart from it."

P: When you have invoked them seven times, speak as follows: "I call to you, O strong, potent, and exalted spirit, because from you proceed the knowledge of the wise and the understanding of the intellect, and by your virtue the desires of the wise are accomplished, that you may respond to me, and be present with me, and unite with me your powers and the virtues that accompany you, and strengthen me with your knowledge so that I may understand that which I do not understand, and know that of which I am ignorant, and see that which I do not see; and remove from me all blindness, turpitude, forgetfulness, and infirmity; and lift me up to the degree of the ancient sages (those, indeed, whose hearts were filled with knowledge, wisdom, understanding, and cognition), and affix the aforesaid things in my heart, so that my heart might be like the hearts of the ancient sages."

And here is the petition the magician makes to the Spirit of Perfect Nature. 

There are two very important themes that I think bear mentioning about this petition. First, in both versions the spirit is addressed in the singular. It is tempting for me to think of Perfect Nature in terms of four individual intelligences but this is a reminder that the goal is to contact a singular spirit that is individual to the magician themselves. 

The second big thing I think is important is that the magician implores Perfect Nature to align them with the lineage of ancient magicians that came before. This is a request to learn directly from the spirits with Perfect Nature as the conduit or medium. In fact, both versions of the Picatrix mentions who is "the first to work with spirits" and would presumably be one of the ancient sages to contact and learn from. In the Latin Picatrix the name is given as Caraphzebiz, in the Arabic Kirfisayis; phonetically very similar. 

The petition could certainly be modified as the magician deems fit. 

G: Then the spirit said if you do that then you will see me.

P: And when you have done the foregoing working in the aforesaid way, you will see me.

This is the end of the detailed ritual procedure in both books. They each go on to suggest that the planet that rules a persons nativity will affect the manifestation of the teachings of Perfect Nature. I hesitate to put any kind of interpretation on this until I experience it myself. 

Both books then go into talking about seeing with a spiritual eye, contemplations, and looking within which I interpret to mean that a period of meditation and visualization is the next step. After that one would give thanks to God and to the Spirit of Perfect Nature and the Rite would be ended. The candle would be snuffed and the offerings left for some time, maybe a couple of days, and then ritually disposed of. 

The big outstanding question I have is if any of the offering should be consumed by the magician performing the Rite. I could see reasons for both yes and no. Perhaps this will be one of my first questions to the spirit.