This atlas treats the 44 figures as parts of one edited book rather than as loose symbols. Each entry separates Mathers’s stated purpose from the words actually printed in the design, then reads the center, geometric frame, perimeter, and plate placement.
The count follows the order printed in 1889: seven each for Saturn, Jupiter, Mars, and the Sun; five each for Venus and Mercury; and six for the Moon. Figures 11–54 span Plates II–XIII. The individual crops remain linked to their complete public-domain plates.
- 44
- individual figures
- 7
- planetary groups
- 12
- printed plates
- 1889
- edition analyzed
What each entry analyzes
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All 44 pentacles
Showing all 44 figures
First Pentacle of Saturn
Mathers describes the figure as a display that makes spirits submit through terror.
Second Pentacle of Saturn
The caption assigns the figure to adversity and the repression of spiritual pride.
Third Pentacle of Saturn
Mathers assigns this night figure to invocations of spirits associated with Saturn.
Fourth Pentacle of Saturn
The caption associates the figure with ruin, destruction, death, and spirits said to bring news from the south.
Fifth Pentacle of Saturn
Mathers says the figure protects a night invocation and drives away spirits guarding treasure.
Sixth Pentacle of Saturn
The caption makes an aggressive claim that pronouncing the figure against someone brings demonic obsession.
Seventh Pentacle of Saturn
Mathers connects the final Saturn figure with earthquakes through the collective power of the angelic orders named inside it.
First Pentacle of Jupiter
The first Jupiter caption invokes planetary spirits and singles out Parasiel as a master of treasures and their locations.
Second Pentacle of Jupiter
Mathers assigns this figure to honor, status, riches, tranquillity, and the discovery of guarded treasure.
Third Pentacle of Jupiter
The caption presents the figure as protection for an invocation and as a sign shown to arriving spirits.
Fourth Pentacle of Jupiter
Mathers says the figure brings wealth and honor and names Bariel as its angel.
Fifth Pentacle of Jupiter
The fifth figure is assigned to visions and is linked in the caption to Jacob’s ladder.
Sixth Pentacle of Jupiter
The caption describes daily contemplation of the figure as protection from earthly dangers.
Seventh Pentacle of Jupiter
Mathers gives the last Jupiter figure power against poverty and against spirits said to guard treasure.
First Pentacle of Mars
The first Mars figure is a general invocation of spirits placed under that planet.
Second Pentacle of Mars
The caption claims the figure can be applied to an afflicted part against disease.
Third Pentacle of Mars
Mathers connects the figure with war, anger, discord, hostile resistance, and terror.
Fourth Pentacle of Mars
The fourth Mars caption promises victory in war.
Fifth Pentacle of Mars
Mathers presents this scorpion figure as frightening and coercive toward demons.
Sixth Pentacle of Mars
The caption claims protection in combat and the reversal of an attacker’s weapons.
Seventh Pentacle of Mars
Mathers associates the last Mars pentacle with hail and tempest.
First Pentacle of the Sun
Mathers identifies the face as a solar image of Shaddai’s authority before which creatures and spirits bow.
Second Pentacle of the Sun
The caption groups this with the first and third solar figures as a means to repress the pride of solar spirits.
Third Pentacle of the Sun
Mathers assigns the figure to rule, renown, and glory, as well as harm to others.
Fourth Pentacle of the Sun
The caption says this figure makes otherwise invisible spirits visible.
Fifth Pentacle of the Sun
Mathers links this figure with spirits said to transport a person over a long distance quickly.
Sixth Pentacle of the Sun
The sixth solar caption claims an operation of invisibility.
Seventh Pentacle of the Sun
The caption associates the gold figure with release from imprisonment and iron bonds.
First Pentacle of Venus
The first Venus figure is a general control and invocation figure for the spirits named around it.
Second Pentacle of Venus
Mathers assigns the figure to favor, honor, Venusian matters, and the accomplishment of desire.
Third Pentacle of Venus
The caption says displaying the figure attracts love and names Monachiel as its angel.
Fourth Pentacle of Venus
Mathers gives the figure a coercive claim: compelling Venus spirits and forcing a desired person to come.
Fifth Pentacle of Venus
The last Venus caption claims that merely showing the figure excites love.
First Pentacle of Mercury
The first Mercury caption assigns the figure to spirits described as beneath the firmament.
Second Pentacle of Mercury
Mathers says the named spirits answer requests outside the other categories, though they are difficult to see.
Third Pentacle of Mercury
The caption invokes Mercury spirits, especially the four angels written in the figure.
Fourth Pentacle of Mercury
Mathers assigns this figure to broad knowledge, hidden things, and messenger spirits called Allatori.
Fifth Pentacle of Mercury
The last Mercury caption says the figure opens closed doors and overcomes barriers.
First Pentacle of the Moon
The first lunar caption invokes Moon spirits and, like Mercury 5, claims to open fastened doors.
Second Pentacle of the Moon
Mathers assigns the figure to danger by water and to the cessation of rain or tempests during a lunar invocation.
Third Pentacle of the Moon
The third lunar caption assigns the figure to protection on journeys, especially against night attacks and water danger.
Fourth Pentacle of the Moon
Mathers describes defense from harmful sorcery and injury, and links Sophiel with knowledge of herbs and stones.
Fifth Pentacle of the Moon
The caption combines answers in sleep with hostile and necromantic claims concerning enemies, night phantoms, and the dead.
Sixth Pentacle of the Moon
The final lunar caption claims that a silver plate placed under water brings continuing rain.
No figures match that search and planet filter.
Edition boundary
The images here document Mathers’s 1889 printed reconstruction. They are not photographs of one medieval original. Mathers says he compared differing manuscripts, restored Hebrew and magical characters, and sometimes marked a reading as uncertain. Sloane 2731 and Lansdowne 1203 establish that named manuscript witnesses have their own dates, languages, and material arrangements.