- What Belongs to This Vertical and What Does Not
- How the Tradition Formed: A History in Dates and Names
- The Inner Structure of the Field: Branches, Families, and Schools
- Key Texts, Figures, and Traditions
- Glossary of Essential Terms
- How the Tradition Is Practiced Today
- Common Misconceptions About the Ars Goetia
- Where to Go Next
The brass triangle sits outside the circle, its points aimed at the cardinal directions. Inside it, a spirit is expected to appear: first as smoke, then as a shape, then as a voice that speaks in a language the magician has never learned but somehow understands. This is the image that has haunted Western occultism for four centuries. The books that describe it are called grimoires. The practice is called goetia. And the beings it claims to command are the seventy-two demons of the Ars Goetia.
Demonology and the Ars Goetia form the branch of Western occultism that catalogues, classifies, and claims to command spirits, specifically the seventy-two demons of the Solomonic tradition. It is a system of evocation, not worship. It is a technology of the will, dressed in the language of medieval piety. And it remains one of the most misunderstood, most practiced, and most debated corners of the occult library.
This guide is the hub of that library. It maps the whole field: where it came from, how it is structured, what its key texts say, how it is practiced today, and where its borders lie with neighboring traditions. We keep these books on our shelves. We have drawn the circles. We have smelled the sulfur and the myrrh. What follows is what we know.
What Belongs to This Vertical and What Does Not
The word goetia (go-EH-tee-ah) comes from the Greek goeteia, meaning sorcery or witchcraft. In the Roman world it meant low magic: necromancy, love spells, the kind of work done in graveyards. It was the opposite of theurgia (the-UR-gee-ah), which meant divine work: the ascent of the soul to the gods. This distinction is older than Christianity and it still structures the field today.
The Ars Goetia belongs to the Solomonic tradition. That means it claims King Solomon as its source. It is a system of evocation: the magician remains in a protective circle and commands a spirit to appear in a triangle outside it. The spirit is not invited. It is compelled. The magician uses divine names, seals, and ritual tools to enforce obedience.
What does not belong here: demonolatry (the worship of demons as gods), necromancy (communication with the dead), folk demonology (the belief in demons as purely evil entities from Christian theology), and pop-culture demonology (treating fictional demons as real). The Ars Goetia is a ritual technology, not a religion. It treats demons as forces to be used, not beings to be loved or feared.
The border with theurgia is porous. The Lemegeton, the book that contains the Ars Goetia, also contains the Ars Theurgia Goetia, which deals with aerial spirits. Some practitioners see the whole system as a ladder: goetia for the lower spirits, theurgia for the higher. Others see a hard line. We side with the ladder view. The same hands that draw the circle can also reach for the divine.
How the Tradition Formed: A History in Dates and Names
The roots of the Ars Goetia lie in the Testament of Solomon, a pseudepigraphical text written in Greek between the 1st and 3rd centuries CE. It presents Solomon as a magician who built the Temple with the help of demons he enslaved. He names them. He describes their powers. He gives the angelic names that bind them. This is the oldest surviving source for the idea that a human can command spirits through divine authority.
The next major layer is medieval. Between the 13th and 15th centuries, manuscripts of the Key of Solomon (Clavicula Salomonis) circulated across Europe. These were practical handbooks: how to make the circle, how to consecrate tools, how to invoke. They drew on Jewish angelology, Arabic astral magic, and Christian liturgy. The Key of Solomon does not contain the seventy-two demons. It is a general system of ceremonial magic.
The seventy-two demons appear in their recognizable form in the Pseudomonarchia Daemonum (False Monarchy of Demons), published in 1563 by the Dutch physician Johann Weyer. Weyer was a student of the occult philosopher Cornelius Agrippa. He wrote the book as a catalogue of demons, partly to expose the fraud of magic, partly because he was genuinely fascinated. His list names sixty-nine demons. It gives their ranks, their powers, and the seals that summon them.
The full seventy-two appear in the Lemegeton Clavicula Salomonis (The Lesser Key of Solomon), a manuscript compiled in the mid-17th century. The Lemegeton has five books: the Ars Goetia, the Ars Theurgia Goetia, the Ars Paulina, the Ars Almadel, and the Ars Notoria. The first book, the Ars Goetia, contains the seventy-two demons. Each has a name, a rank (king, duke, president, etc.), a description, a sigil, and a set of conjurations.
The Lemegeton was first translated into English by Samuel Liddell MacGregor Mathers in 1904, under the title The Book of the Goetia of Solomon the King. Mathers was a co-founder of the Hermetic Order of the Golden Dawn. His edition included an introduction by Aleister Crowley, who added his own commentary and a new system of invocation. Crowley’s version became the standard for 20th-century occultists.
For the people who used these books, the stakes were real. A 17th-century magician who was caught with a grimoire could be tried for witchcraft. The circles were drawn in secret, in attics or fields at midnight. The names were whispered. The tools were hidden. The tradition survived because it was written, copied, and passed hand to hand.
The Inner Structure of the Field: Branches, Families, and Schools
The vertical of demonology and the Ars Goetia is not a single practice. It is a tree with several branches. Each branch has its own logic, its own texts, and its own practitioners. We describe them here in the order a student would encounter them.
1. The Solomonic Tradition (the Core)
This is the trunk. The Solomonic tradition treats the Ars Goetia as part of a complete system of ceremonial magic. The magician works within a consecrated circle, uses divine names to compel spirits, and demands a physical manifestation in the Triangle of Art. The goal is practical: to obtain knowledge, treasure, love, or power from the spirit. The system is hierarchical. The magician is the authority. The spirit is the servant.
The key text is the Lemegeton. The key tool is the circle, which is drawn on the floor with chalk or painted on cloth. The triangle is placed outside the circle, oriented to the east. The magician wears a crown, a robe, and a lamen (a metal plaque inscribed with divine names). The spirits are summoned by rank: kings first, then dukes, then presidents, then earls, then knights.
2. The Seventy-Two Demons: Hierarchy and Powers
Each of the seventy-two demons has a specific function. Bael (the first king) can make the magician invisible. Paimon (a king) teaches arts and sciences and binds spirits. Beleth (a king) causes love between men and women. Asmodeus (a king) gives the ring of virtues and teaches mathematics. Astaroth (a duke) reveals the past and future. Marbas (a president) cures diseases. Buer (a president) teaches herbal medicine. Vassago (a prince) declares past and future. Sitri (a prince) causes love. Beleth again, different sources disagree on his rank.
The demons are organized by rank: kings (4), dukes (8), presidents (12), earls (16), knights (20), marquises (12), and princes (8). The numbers vary slightly between manuscripts. Each demon has a sigil, a geometric design that acts as a signature and a focal point. The sigil is drawn on parchment or metal and placed in the triangle.
3. Evocation Methodology: The Ritual Engine
This is the practical branch. It covers the preparation, the timing, the tools, and the steps of the ritual. The magician must be purified (fasting, bathing, abstinence). The tools must be consecrated: the wand, the sword, the pentacle, the incense burner, the robe. The circle must be drawn with the correct names and seals. The triangle must be inscribed with the names of the divine and the spirit.
The conjurations are recited from memory or read aloud. They begin with the names of God, then the names of the angels, then the command to the spirit. If the spirit does not appear, the conjuration is repeated with increasing intensity. If the spirit appears and is hostile, the magician uses the pentacle to compel it. If the spirit is obedient, the magician states the request and receives a promise. The spirit is then dismissed with a license to depart.
The sensory details matter. The incense is frankincense and myrrh, sometimes sulfur. The candle is beeswax. The circle is drawn with charcoal or consecrated chalk. The triangle is sometimes painted with the blood of a sacrificed animal, though modern practitioners use red ink. The temperature in the room drops. The air thickens. The sigil glows in the candlelight.
4. The Theurgia-Goetia Distinction
The Lemegeton’s second book, the Ars Theurgia Goetia, deals with aerial spirits: beings that are neither fully divine nor fully demonic. They are the spirits of the air, the winds, the directions. They are called by the names of the hours and the angels. This book is often ignored by modern goetic practitioners, but it is essential to understanding the system as a whole.
The distinction matters because it answers a question: are the goetic demons evil? In the Solomonic framework, they are not. They are fallen angels, but they are not Satanic. They are part of the divine order, bound by the names of God. The theurgic spirits are higher. The goetic spirits are lower. Both are tools.
5. Modern Reinterpretations: Chaos Magic, Demonolatry, and Pop Culture
In the 20th century, the Ars Goetia was adopted by chaos magic, a system that treats all spirits as psychological constructs that can be made real through belief. Chaos magicians use the goetic sigils as tools for self-transformation. They do not believe in literal demons. They use the forms because they work.
Demonolatry is different. It treats the goetic demons as gods or spirits worthy of worship. This is a modern invention, dating to the 1990s. It has no basis in the historical grimoires. The demons of the Ars Goetia are not worshipped. They are commanded. Demonolatry inverts the relationship. We do not practice it, but we document it.
Pop culture has also shaped the field. The web series Helluva Boss features the Ars Goetia as a noble family of demons. This is fiction, but it has brought new people to the grimoires. We note it because the boundary between fiction and practice is porous. Some practitioners use fictional demons as if they were real. We do not judge. We observe.
Key Texts, Figures, and Traditions
The following are the essential sources for anyone who wants to understand the Ars Goetia.
Texts:
- The Testament of Solomon (1st–3rd century CE): The oldest source for Solomonic demonology.
- Pseudomonarchia Daemonum by Johann Weyer (1563): The first printed catalogue of the seventy-two demons.
- De Praestigiis Daemonum by Johann Weyer (1563): A larger work on the deceptions of demons, containing the catalogue.
- The Lemegeton Clavicula Salomonis (mid-17th century): The definitive grimoire. Five books, the first being the Ars Goetia.
- The Goetia of Dr. Rudd (17th century): A variant manuscript that adds angelic names to the conjurations.
- The Book of the Goetia of Solomon the King translated by S.L. MacGregor Mathers (1904): The standard English edition.
- The Goetia: The Lesser Key of Solomon the King with commentary by Aleister Crowley (1904): The most influential modern edition.
- The Goetia of Solomon by Stephen Skinner and David Rankine (2007): A critical edition based on the earliest manuscripts.
Figures:
- King Solomon (legendary): The supposed author of the grimoires. Historical evidence is absent, but the tradition is built on his name.
- Johann Weyer (1515–1588): A physician and occultist who compiled the first demon catalogue. He was a skeptic who believed magic was delusion, but his work preserved the tradition.
- Reginald Scot (1538–1599): An English skeptic who published The Discoverie of Witchcraft (1584), which included a translation of Weyer’s catalogue. He intended to debunk magic; instead, he spread it.
- Samuel Liddell MacGregor Mathers (1854–1918): A co-founder of the Golden Dawn and the translator of the Lemegeton. He made the goetia accessible to the English-speaking world.
- Aleister Crowley (1875–1947): The most famous occultist of the 20th century. His edition of the Goetia remains the standard. He performed the rituals himself and claimed success.
- Stephen Skinner (1948–): A contemporary scholar who has produced critical editions of the Solomonic grimoires. His work is the gold standard for historical accuracy.
Traditions:
- Hermetic Order of the Golden Dawn (1888–1903): The first modern occult order to systematize the goetia. Their methods are still used.
- Thelemic magic (Crowley’s system): Treats the goetia as a path of self-initiation.
- Chaos magic (1970s–present): Uses the goetia as a toolkit for belief manipulation.
- Demonolatry (1990s–present): A modern religion that worships the goetic demons. Not historical, but active.
Glossary of Essential Terms
| Term | Definition |
|---|---|
| Ars Goetia | The first book of the Lemegeton, containing the names, ranks, sigils, and conjurations of seventy-two demons. |
| Circle | A consecrated boundary drawn on the ground, inscribed with divine names and seals, within which the magician stands for protection. |
| Triangle of Art | A triangle drawn outside the circle, oriented to the east, where the spirit is compelled to appear. |
| Sigil | A geometric design unique to each demon, used as a focal point and a signature in evocation. |
| Evocation | The act of calling a spirit to appear externally, as opposed to invocation (calling a spirit into oneself). |
| Invocation | The act of calling a spirit into the magician’s own body or mind, often for union or inspiration. |
| Lemegeton | The full title of the Lesser Key of Solomon, a grimoire in five books: Ars Goetia, Ars Theurgia Goetia, Ars Paulina, Ars Almadel, and Ars Notoria. |
| Solomonic | Pertaining to the magical tradition attributed to King Solomon, characterized by the use of divine names, seals, and hierarchical command. |
| Theurgia | Divine magic, aimed at union with the gods or angels. The opposite of goetia in the classical sense. |
| Pentacle | A disc inscribed with divine names and symbols, used as a protective and commanding tool in the circle. |
| Lamen | A metal or wax plaque worn on the chest, inscribed with the names of God and the angels, identifying the magician as an authority. |
| Conjuration | A spoken formula that commands the spirit to appear, using divine names and threats. |
| License to Depart | A formal dismissal spoken at the end of the ritual, releasing the spirit and closing the triangle. |
| Demon | In the Solomonic tradition, a fallen angel bound by divine names, not inherently evil but capable of deception. |
How the Tradition Is Practiced Today
The practice of goetia in the 21st century is quieter than the grimoires suggest. Most practitioners work alone, in their homes, at night. The circle is often drawn on a large cloth that can be rolled up and hidden. The triangle is painted on a board or drawn on paper. The tools are kept in a box: a wand of hazel or almond wood, a sword or athame, a pentacle of brass or silver, an incense burner, a candle.
The preparation takes days. The magician fasts from meat and sex. They bathe with salt water. They recite the names of God for hours. They consecrate the tools with incense and prayer. On the night of the ritual, they dress in a white or black robe, put on the lamen, and enter the circle.
The conjuration is spoken aloud. The voice must be steady. The names must be pronounced correctly. The incense is lit. The sigil is placed in the triangle. The magician calls the demon by name, rank, and seal. If the demon appears, it is seen as a shape in the smoke or a voice in the air. Some practitioners see it in the mind’s eye. Others feel a presence. The experience is subjective.
The request is made. The demon may bargain. The magician must be firm. If the demon refuses, the magician uses the conjuration again, adding threats. If the demon obeys, the magician gives thanks and dismisses it. The circle is opened. The tools are cleaned. The room is aired.
Modern practitioners often record their results. They keep journals of the spirits they have contacted, the requests made, the outcomes. Some use the goetia for self-knowledge, treating the demons as aspects of the psyche. Others use it for practical magic: money, love, protection. The results are mixed. The tradition persists.
Common Misconceptions About the Ars Goetia
Misconception 1: Goetia is devil worship. It is not. The Ars Goetia uses the names of God and the angels to command demons. The magician is a servant of God, not a servant of Satan. The demons are bound by divine authority. Worship is never part of the ritual.
Misconception 2: The demons are evil. In the Solomonic tradition, demons are fallen angels. They are not inherently evil. They are forces of nature, capable of both good and harm. The magician’s job is to control them, not to fear them.
Misconception 3: Goetia is dangerous. It can be, if done carelessly. The danger is not demonic attack. It is psychological: obsession, delusion, paranoia. The tradition requires discipline, preparation, and a clear mind. It is not for the unstable.
Misconception 4: You need to be a Satanist to practice goetia. No. Many practitioners are Christian, Jewish, or pagan. The goetia is a technology, not a religion. It works within any framework that accepts the power of divine names.
Misconception 5: The sigils are magical in themselves. The sigils are symbols. They have no power without the ritual context. Drawing a sigil on a piece of paper and expecting a demon to appear is like drawing a phone number and expecting a call. The ritual is the line.
FAQ
Is the Ars Goetia real? That depends on what you mean by real. The tradition is real: the books exist, the rituals are performed, the experiences are reported. Whether the demons are literal beings or psychological constructs is a matter of belief. The effects are real to those who experience them.
Can anyone practice the Ars Goetia? In theory, yes. The grimoires give instructions that any literate person can follow. In practice, the tradition requires discipline, study, and psychological stability. We recommend starting with the history and theory before attempting evocation.
Do you need to be a Satanist to work with the Goetia? No. The Ars Goetia is a Solomonic system, not a Satanic one. It uses the names of God and the angels. Many practitioners are Christians or pagans. Satanism is a separate tradition.
What is the difference between Goetia and Theurgia? Goetia is the evocation of lower spirits for practical ends. Theurgia is the invocation of higher spirits for spiritual ascent. In the Lemegeton, the two are linked: the Ars Theurgia Goetia deals with aerial spirits that are intermediate between demons and angels.
Where to Go Next
The Ars Goetia is a deep well. This guide has mapped the surface. The detailed articles in this library go deeper into each corner of the tradition.
Start with the foundational question: what the Ars Goetia is and why it matters. Then trace its history and origin from the Testament of Solomon to the present. Finally, see how the tradition influences modern occult practice.
The circle is drawn. The triangle waits. The names are written. What happens next is between you and the spirits.