Geomantic figures
Geomantic figures are the sixteen primary symbols employed in geomancy, a divinatory art that interprets patterns of dots or lines to discern celestial influences and provide insights into queries about future events, personal matters, or hidden knowledge.[1] Each figure consists of four horizontal lines, each containing either one or two dots, representing binary combinations that symbolize elemental, planetary, and zodiacal qualities.[2] Originating in 9th-century Islamic North Africa as ‘ilm al-raml (the science of sand), geomancy involves generating these figures through random processes such as casting sand, seeds, or marking dots on paper, followed by their arrangement into a chart for interpretation.[2][3] The figures, known by Latin names such as Populus, Via, Albus, Coniunctio, Puella, Amissio, Fortuna Major, Fortuna Minor, Puer, Rubeus, Acquisitio, Laetitia, Tristitia, Carcer, Caput Draconis, and Cauda Draconis, each carry specific attributes including associated planets (e.g., the Sun for Fortuna Major), zodiac signs (e.g., Aries for Puer), elements (fire, air, water, earth), and qualities like stability or mobility.[1] In practice, four initial "mother" figures are produced randomly, from which additional figures are derived through algorithmic combination to form a full chart of twelve houses, culminating in "witnesses" and a "judge" figure that delivers the final verdict on the querent's question.[2] This structure reflects geomancy's deep integration with astrology, often termed "terrestrial astrology," where figures are mapped to astrological houses and aspects for nuanced readings on topics ranging from warfare and politics to personal fortune and health.[2][3] Historically, geomancy spread from its Arabic origins—attributed mythically to the prophet Idris (identified with Hermes Trismegistus) via the angel Gabriel—through medieval Europe via translations in 12th-century Spain by scholars such as Hugh of Santalla and Plato of Tivoli, influencing figures like Michael Scot and Robert Fludd.[2] It also disseminated southward to sub-Saharan Africa, adapting into systems like Yoruba Ifá with its 256 paired figures, and eastward to Madagascar as sikidy.[2] In medieval European texts, such as Martin of Spain's De geomantia, the figures were assigned properties like "goodness" (very good to very bad) and time scales (hours to years), enabling predictions under conditions requiring a clear mind and favorable environment.[1] Despite its esoteric nature, geomancy was regarded as a legitimate science in medieval scholarship, blending chance generation with systematic judgment to bridge the earthly and celestial realms, and it continues to be practiced in modern occult traditions with adaptations including digital generation methods as of 2025.[3][4]History and Origins
Ancient and Medieval Development
Geomantic figures originated in the Arabic divination practice known as ʿilm al-raml, or the "science of sand," which emerged in Islamic Mesopotamia by the late 9th century CE. This system drew on earlier African traditions, particularly from North West Africa, where chance-based procedures and iconographic elements contributed to its formative stages, and Hellenistic influences, especially through astrological frameworks that integrated numerological and celestial interpretations. Early accounts attribute the art's transmission to legendary figures like the prophet Idrīs (identified with Hermes Trismegistus), who reportedly received it from the angel Jibrīl, blending sortilege methods with astrological principles to create a structured divinatory tool.[5] The earliest documented attestation appears in the works of al-A‘rabī in the late 8th or early 9th century, marking the initial codification of raml as a recursive process of generating figures from random marks. A pivotal text from this period is the treatise by al-Zanātī, which systematized the principles of sand divination and reinforced its Idrīsian origins, establishing core interpretive methods that persisted across Islamic scholarship. By the 11th century, geomancy had spread within the Islamic world, influencing Persian and North African variants, while its binary structure—comprising tetragrams formed by odd or even lines—began to solidify, though early forms occasionally incorporated variable elements before standardizing.[5] Transmission to Europe occurred through Latin translations of Arabic texts starting in the late 11th and early 12th centuries, primarily via the Toledo school of translators in Spain. One of the earliest and most influential was the Ars Geomantiae by Hugh of Santalla (fl. 1140s), which rendered an Arabic geomancy manual into Latin, introducing the 16 figures and their recursive generation to Western scholars and adapting them to Christian intellectual contexts. This paved the way for broader adoption, with figures like Roger Bacon referencing geomancy in the 13th century as a legitimate art of prognosis.[2] Standardization accelerated in the 13th through 16th centuries as European occultists refined the system, culminating in Heinrich Cornelius Agrippa's Three Books of Occult Philosophy (1533), which definitively codified the 16 geomantic figures. Agrippa integrated them into a comprehensive framework, assigning planetary, zodiacal, and elemental correspondences drawn from Arabic, Greek, and Jewish sources, while correcting earlier representational errors and emphasizing their binary tetragram nature—four lines each with one or two points, yielding 2^4 = 16 distinct combinations. This work ensured the figures' enduring form in Western esotericism, transitioning from ad hoc Arabic practices to a fixed symbolic canon.Cultural Influences and Transmission
Geomantic figures, originating from Arabic traditions, spread to West African divination systems, where they paralleled and interacted with indigenous practices like the Yoruba Ifá tradition, which uses binary patterns generated through the casting of palm nuts or cowrie shells to interpret oracular messages.[6] This reflects Africa's unparalleled diversity in geomantic traditions, with Islamic geomancy influencing and adapting to local systems like Ifá, incorporating binary structures alongside pre-existing indigenous methods.[6] The figures were integrated into Islamic scholarship as 'ilm al-raml, or the "science of sand," where they blended with astrological principles to form a system known as terrestrial astrology, allowing diviners to derive planetary associations from generated patterns.[7] This Arabic geomancy transmitted to Europe during the medieval period through translations of Islamic texts in Spain and Sicily, facilitated by cultural exchanges, leading to its adoption as a popular divinatory art by the thirteenth century.[8] European scholars adapted the method, incorporating it into broader occult sciences while retaining its binary core.[8] In Jewish mystical traditions, geomancy found adoption as a practical tool for decision-making, as evidenced in the seventeenth-century Yemenite text Sefer Goralot Ha-Hol by Rabbi Shalom Shabbazi, which organized figures for ethical and halakhic guidance, though it diverged from Kabbalistic sefirot in favor of astrological alignments.[9] During the Renaissance, occultists like Heinrich Cornelius Agrippa further embedded geomancy in European esotericism, synthesizing it with Hermetic and astrological frameworks in works such as De Geomantia.[8] These traditions extended into the African diaspora, where geomantic elements influenced divination practices in the Western Hemisphere, including binary shell-casting methods in Hoodoo and related conjure systems derived from West African roots.[6] Geomantic figures share binary foundations with the Chinese I Ching but differ structurally, employing four-line tetragrams to yield sixteen figures for direct yes/no queries, in contrast to the I Ching's six-line hexagrams forming sixty-four combinations for nuanced, philosophical interpretations.[10] Despite these parallels in line-based symbolism, the systems evolved independently, with no historical linkage, emphasizing geomancy's focus on rapid, practical divination over the I Ching's contemplative depth.[10]Generation of Figures
Traditional Dot Method
The traditional dot method, originating from Arabic geomancy known as ‘ilm al-raml (the science of the sand), involves creating random marks to generate the sixteen geomantic figures, reflecting divine or natural influences at the moment of consultation.[11] Practitioners historically used a tray of sand for marking, though medieval European adaptations allowed parchment or paper, with dots drawn from right to left in keeping with Arabic conventions.[11][12] This hands-on process emphasizes randomness to ensure the outcome is not influenced by conscious intent, serving as the foundation for the full geomantic chart used in divination.[12] To generate the four initial "mother" figures, the geomancer draws sixteen separate lines of random dots—typically at least twelve per line to maintain unpredictability—without counting them during the marking process, often while focusing on the question at hand.[11] Each line is then counted by pairing the dots from right to left: if the total is even (all dots paired), it represents a passive or even state, symbolized by two dots (••); if odd (one dot left unpaired), it represents an active or odd state, symbolized by a single dot (•).[11] These sixteen lines are grouped into four sets of four lines each, forming the four mother figures from top to bottom, where the lines correspond to elemental positions: head (fire), neck (air), belly (water), and feet (earth).[13] From these mothers, the remaining figures are derived deterministically to complete the chart, without further random marking. The four "daughter" figures are created by transposing the lines horizontally: the first daughter uses the head lines from all four mothers, the second uses the neck lines, and so on.[11] Next, the four "niece" figures result from adding corresponding lines of paired mothers and daughters (odd + odd = even, even + even = even, odd + even = odd), yielding twelve figures in total for the primary shield chart.[13] Finally, two witness figures and one judge figure are produced by similarly adding pairs of nieces, with the judge providing the overall resolution.[11] For example, a line with five dots is odd (one unpaired after pairing two pairs, leaving one), thus represented as • (active); a line with four dots is even (two pairs), represented as •• (passive).[11] This method's reliance on chance aligns with its binary nature, where single and double dots correspond to 1 and 0 in numerical systems.[12]Binary and Numerical Representations
Geomantic figures are encoded mathematically as 4-bit binary tetragrams, with each bit representing one of the four lines from head (top) to feet (bottom). An even line, consisting of two dots (passive), is denoted by 0, while an odd line with a single dot (active) is denoted by 1. This binary structure yields 16 unique figures, as there are $2^4 = 16 possible combinations.[2] The numerical value of a figure is calculated as the sum of its active points, equivalent to the number of 1s (odd lines) in the binary tetragram, ranging from 0 to 4. For instance, Populus (0000) has a value of 0, indicating complete passivity, while Via (1111) has a value of 4, signifying maximum activity. This value reflects the figure's inherent mobility or stability in interpretive contexts.[2][14] Figures can be sequenced in binary progression, from 0000 (Populus) to 1111 (Via), providing a logical ordering based on increasing numerical values from 0 to 15 in decimal. However, traditional listings often follow planetary, elemental, or regional sequences rather than strict binary order.[14][2] This binary framework parallels the I Ching, where geomantic tetragrams represent a foundational subset of the 64 hexagrams by focusing on four-line combinations and abstracting the odd/even polarity without the full yin/yang distinctions.[2][15]The Sixteen Figures
Populus
Populus is one of the sixteen geomantic figures, characterized by its unique structure of four even rows, each consisting of two dots (•• in each of the four lines), which collectively symbolize a crowd or populace.[16] This all-even configuration represents passivity and multiplicity, often visualized as a flowing mass to evoke the indistinct, collective nature of a gathering.[17] In binary representation, Populus corresponds to 0000, reflecting all passive lines, with a numerical value of 0 derived from this binary form.[16] It is associated with the element of water, emphasizing fluidity and adaptability, and possesses the quality of stable, indicating consistency rather than changeability.[1][17] The traditional name derives from the Latin populus, meaning "people," underscoring themes of multiplicity and inherent instability within a group dynamic.[16] This figure can be generated through the traditional dot method by producing an even number of marks in each of the four rows.[2] It corresponds to the Moon and the zodiac sign Cancer.[1]Via
The Via figure in geomancy features a distinctive structure of four odd rows, each consisting of a single dot, depicted as:This arrangement symbolizes a path or way, evoking the concept of progression and motion through its elongated form.[18] In binary representation, Via corresponds to 1111, with all 1s denoting all odd rows; its numerical value is 15. It is associated with the element of water, which imparts a mobile quality, emphasizing adaptability, flux, and transitional energy rather than stability.[1][18] Visually, the figure resembles a straight vertical line or trail, reinforcing its theme of travel and direction. The traditional name "Via," meaning "the way," originates from Latin via for "road," highlighting its role in denoting journeys, change, and passage between states.[2] It corresponds to the Moon and the zodiac sign Leo.[1]• • • •• • • •
Albus
The geomantic figure Albus features a distinctive structure with an even row at the top, an odd row second, and even rows third and fourth, depicted as •• \n• \n•• \n•• from top to bottom. This configuration evokes the imagery of dawn breaking or the color white, highlighting a sense of emerging clarity.[2] In binary form, Albus is represented as 0100, interpreting even lines as 0 and odd lines as 1 when read from top to bottom; its numerical value is 4. Associated with the element of water, Albus embodies a stable quality, denoting consistency and immobility in geomantic classification systems.[1] The visual form of Albus suggests a crescent moon, underscoring its subtle, reflective essence. The name "Albus" originates from the Latin term meaning "white," which carries implications of purity and intellectual refinement in traditional geomantic nomenclature.[2] It corresponds to Mercury and the zodiac sign Gemini.[1]Coniunctio
The Coniunctio figure consists of four rows of dots, with the outer rows even (two dots each) and the inner rows odd (one dot each), visually rendered as •• on top, • below it, • below that, and •• at the bottom. This configuration symbolizes conjunction, representing a union or merging of forces.[1] In binary terms, Coniunctio is expressed as 0110, where even rows correspond to 0 and odd rows to 1, read from top to bottom; this aligns with its numerical value of 6. The figure is linked to the element of air, evoking fluidity and adaptability, and possesses the quality of mobile, indicating change and transition.[1][19] Visually, the pattern evokes interlocking lines formed by the central single dots bridging the double-dot rows, underscoring themes of interconnection. The name "Coniunctio" originates from Latin, meaning "joining" or "conjunction," which implies harmony, alliance, or the synthesis of opposites.[5] It corresponds to Mercury and the zodiac sign Virgo.[1]Puella
Puella is one of the sixteen geomantic figures, distinguished by its structure of two even rows positioned above two odd rows, depicted as••
••
•
•
This configuration, generated through the traditional dot method of marking points in four lines, evokes the form of a young woman, with the upper even rows suggesting rounded, feminine contours such as the head and chest.[2][1] In binary notation, Puella is represented as 0011, where even rows correspond to 0 and odd rows to 1, read from top to bottom; this yields a numerical value of 3 in decimal. It is fundamentally tied to the element of air, reflecting fluidity and receptivity, and classified as a stable quality, indicating enduring rather than changing influences.[1][2] The name Puella originates from Latin, meaning "girl" or "maiden," and traditionally connotes attributes of beauty, grace, and passivity, aligning with its visual representation of harmonious, feminine elegance.[1] It corresponds to Venus and the zodiac sign Libra.[1]
Amissio
Amissio is a geomantic figure symbolizing loss and depletion, characterized by a structure of odd, even, odd, even rows, visually represented as • \n•• \n• \n••, evoking the image of contents spilling out or dissipating, thereby underscoring themes of forfeiture and separation. The figure's traditional name derives from the Latin term amissio, meaning "loss" or "that which is sent away," reflecting its core attribute of diminishment in material or relational contexts.[2] In binary notation, Amissio corresponds to 1010, yielding a numerical value of 10 based on the binary form read top to bottom. It is aligned with the element of fire, signifying dynamic energy often associated with transformation through release, and possesses a stable quality, indicating enduring rather than transient influences in interpretations.[1] The numerical sum of its lines provides further interpretive depth, as detailed in the section on Binary and Numerical Representations. It corresponds to Venus and the zodiac sign Scorpio.[1]Fortuna Major
Fortuna Major is a geomantic figure characterized by its structure of two even rows in the upper portion and two odd rows in the lower portion, visually resembling an elevated throne that signifies stability and elevation through inherent strength, depicted as •• \n•• \n• \n• from top to bottom.[20] This configuration embodies greater fortune, where the passive upper elements ground the active lower ones to represent enduring success.[21] In binary representation, Fortuna Major corresponds to 0011, with even rows as 0 and odd as 1 read top to bottom; its numerical value is 3.[22] The figure aligns with the element of fire, reflecting dynamic energy tempered by persistence, and possesses a stable quality, indicating fixed and reliable outcomes rather than transient change.[1][23] The traditional name "Fortuna Major" derives from Latin, meaning "greater fortune" or "major luck," emphasizing achievement attained via deliberate effort and internal resources rather than external aid.[1] This etymology underscores the figure's role as a positive omen for long-term prosperity, rooted in the Renaissance tradition of geomantic symbolism.[23] It corresponds to the Sun and the zodiac sign Aquarius.[1]Fortuna Minor
Fortuna Minor, known as the "Lesser Fortune," is a geomantic figure formed by two odd lines positioned above two even lines, visually represented as • \n• \n•• \n••. This structure symbolizes a transient form of prosperity or success that arrives swiftly but lacks permanence, often interpreted as benefits gained through external aid rather than inherent stability.[16] In binary notation, Fortuna Minor corresponds to 1100, yielding a numerical value of 12 when interpreted top to bottom. It is associated with the element of earth, reflecting its grounded nature, and possesses the quality of mobile, indicating change, movement, and instability in its interpretations.[1][16] The figure is commonly depicted as a descending arrow, emphasizing its connotation of fortune that flows downward or outward temporarily, contrasting with more enduring symbols in geomantic practice. The name derives from Latin fortūna minor, meaning "lesser fortune" or "minor luck," which underscores its role in signifying quick, albeit fleeting, positive outcomes such as short-term gains or assistance from outside sources.[16] It corresponds to the Sun and the zodiac sign Taurus.[1]Acquisitio
Acquisitio is a geomantic figure formed by an even line positioned above three odd lines, typically represented as •• \n• \n• \n•, embodying the concept of gain through accumulation and retention. This configuration arises from the traditional dot method of geomancy, where parities are determined by counting marks to odd or even numbers, with the top line even and the lower three odd.[16] In binary notation, Acquisitio corresponds to 0111 (reading from top to bottom, with 0 for even and 1 for odd), yielding a numerical value of 7. It is associated with the element of air, signifying dynamic energy and expansion, and classified as a stable figure due to its balanced, enduring nature in interpretive systems.[1][2] Visually, Acquisitio is symbolized by an upward-pointing arrow, evoking ascent and positive momentum, in line with its traditional designation as the figure of "gain." The term originates from the Latin acquisitio, meaning "acquisition" or "obtaining," which underscores themes of prosperity, material increase, and successful attainment in geomantic practice.[16] It corresponds to Jupiter and the zodiac sign Aries.[1]Laetitia
Laetitia is a geomantic figure defined by its distinctive structure: an odd (active) line positioned above three even (passive) lines, visually rendered as • followed by three instances of ••, symbolizing elevation and joy through an initial spark of activity grounded in stability. This arrangement evokes a sense of ascending positivity, where the single point rises above a broad base, representing optimism and spiritual height in traditional interpretations. The figure's form underscores themes of happiness and good fortune, distinguishing it as an auspicious symbol in geomantic practice.[1] In binary notation, Laetitia corresponds to 1000, where 1 denotes an odd line and 0 an even line, yielding a numerical value of 8. It is associated with the element of air, reflecting its mobile quality, which imparts buoyancy, changeability, and intellectual clarity to its interpretations. These attributes position Laetitia as a dynamic figure favoring progress and elevation rather than stasis.[1][2] Visually, Laetitia is often depicted as a human figure with uplifted arms, gesturing toward the heavens in celebration and exaltation, reinforcing its connotation of unrestrained delight. The traditional name derives from the Latin laetitia, meaning "joy" or "happiness," which encapsulates its essence of optimism, suggesting not only emotional uplift but also a metaphorical reaching toward greater heights in life's endeavors. This etymology traces back to medieval European codifications of geomancy, where the figure embodied positive, airy aspirations.[2][24] It corresponds to Jupiter and the zodiac sign Taurus.[1]Puer
The Puer figure consists of a specific pattern in geomantic practice: an odd configuration (single dot) in the upper row, followed by an even configuration (two dots) in the second row, an odd in the third, and even in the fourth, denoted as • / •• / • / ••. This arrangement evokes the image of a boy or young man, frequently symbolized visually as an upright sword or the figure of a youth, representing nascent masculine force and initiative.[1] The binary representation of Puer is 1010, with odd rows coded as 1 and even as 0, resulting in a numerical value of 10. Associated with the element of water, it carries a mobile quality that underscores its dynamic and unstable nature, prone to swift shifts and initiatory impulses.[1] The traditional name "Puer" originates from the Latin term meaning "boy" or "youth," highlighting attributes of energetic enthusiasm, impulsivity, and latent aggression inherent in adolescence.[25] It corresponds to Mars and the zodiac sign Aries.[1]Rubeus
Rubeus is one of the sixteen geomantic figures, characterized by a unique pattern consisting of two odd lines above two even lines, visually represented as • \n• \n•• \n••, which evokes imagery of a chalice or spilling blood.[26] This structure symbolizes redness or intense passion, aligning with its traditional associations in geomantic practice.[1] In binary form, Rubeus corresponds to 1101, yielding a numerical value of 13, with elemental attribution to fire and a quality classified as mobile.[1] The figure's name derives from the Latin rubeus, meaning "ruddy" or "red," connoting not only color but also implications of intensity, vice, and emotional turbulence.[27] Originating from Arabic geomantic traditions transmitted to Europe, Rubeus retains its core form across cultural adaptations.[2] It corresponds to Mars and the zodiac sign Gemini.[1]Tristitia
Tristitia is one of the sixteen geomantic figures, characterized by a specific pattern of dots that forms its core structure. The figure consists of four horizontal lines, with the top three lines each containing two dots (representing even parity) and the bottom line containing a single dot (representing odd parity), denoted as •• over •• over •• over •. This arrangement evokes a sense of downward progression and emotional weight, symbolizing sorrow and melancholy in traditional geomantic practice.[28] In binary notation, Tristitia is represented as 0001, where even lines are assigned a value of 0 and the odd line a value of 1, yielding a decimal numerical value of 1; this places it as the second figure in the standard ordering of geomantic symbols from Populus (0000) to Via (1111). The figure is associated with the element of earth, reflecting its grounded and immobile nature, and classified as stable (or static) due to its lack of mobility in the four-line configuration.[14][29] Visually, Tristitia is frequently depicted as a downturned cross or an inverted arrow, emphasizing descent, burden, and isolation, which aligns with its interpretive role in divination. The name derives from the Latin tristitia, meaning "sadness" or "sorrow," stemming from the adjective tristis ("sad" or "gloomy"), underscoring its connotation of emotional heaviness and withdrawal.[30][31] It corresponds to Saturn and the zodiac sign Scorpio.[1]Carcer
Carcer is one of the sixteen geomantic figures, distinguished by its structure of two even rows above two odd rows, denoted as •• \n•• \n• \n•. This configuration evokes the image of a prison, with the upper even lines representing solid barriers and the lower odd lines suggesting confined spaces below.[32] The figure's binary representation is 0011, corresponding to a numerical value of 3 in traditional geomantic numerology; it aligns with the element of earth and embodies a stable quality, indicating enduring and immovable conditions.[1] Visually, Carcer manifests as an enclosed square, reinforcing its connotation of containment and immobility. The traditional name "Carcer" directly translates to "prison" in Latin, with roots implying bondage and evoking themes of restriction and isolation. This figure can emerge from the traditional dot method of geomancy generation, where random marks are counted into odd or even numbers to form the lines.[33] It corresponds to Saturn and the zodiac sign Pisces.[1]Caput Draconis
Caput Draconis, Latin for "Head of the Dragon," is one of the sixteen geomantic figures used in traditional divination practices originating from Arabic and European traditions.[34] Its structure consists of four horizontal rows of dots, with the top row containing two dots (even parity) and the lower three rows each containing a single dot (odd parity), visually depicted as •• \n• \n• \n•, evoking the image of a dragon's head entering a threshold.[34] This configuration symbolizes initiation and ingress, distinguishing it from its counterpart Cauda Draconis, which represents egress. In binary representation, Caput Draconis is encoded as 0111, where even rows are 0 and odd rows are 1, with the least significant bit at the bottom (yielding a decimal value of 7 in standard ordering).[34] The figure's basic attributes align it with the element of fire, reflecting stability and material beginnings in geomantic analysis.[1] It is classified as an entering figure, indicating movement toward new phases or opportunities, and is considered stable in its dynamic qualities.[1] Historically, this figure appears in medieval geomantic texts such as those attributed to Agrippa and earlier Arabic sources, where its form underscores themes of positive augmentation and threshold-crossing without implying astrological specifics.[24] The even top row paired with odd lower rows creates an unbalanced yet harmonious pattern, emphasizing the figure's role in representing the onset of ventures. It corresponds to the North Node of the Moon and the zodiac sign Virgo.[1]Cauda Draconis
Cauda Draconis is a geomantic figure consisting of two odd rows positioned over two even rows, depicted as • \n• \n•• \n••, which visually evokes the tapering form of a dragon's tail trailing away.[1] This arrangement symbolizes an exiting or diminishing force, representing the conclusion of cycles or the release from binding situations in traditional geomantic practice.[35] The figure's design draws from ancient binary patterns derived from random dot generation, where single dots denote odd (active) parity and double dots denote even (passive) parity across the four elemental rows from top to bottom.[24] In binary notation, Cauda Draconis corresponds to 1100, yielding a numerical value of 12 based on the binary form read top to bottom.[36] It is fundamentally associated with the element of earth, reflecting themes of transformation and rapid change, and possesses the quality of mobile, indicating instability and movement rather than fixed stability.[1][37] These attributes underscore the figure's role in denoting decline, dissolution, or purposeful endings, aligning with its visual motif of a tail withdrawing from view. The traditional name "Cauda Draconis" derives from Latin, literally translating to "dragon's tail," a term rooted in medieval astrological and divinatory texts that link it to the lunar south node and concepts of release or diminution.[1] This etymology emphasizes the figure's interpretive essence of egress and finality, distinguishing it from its counterpart Caput Draconis, while avoiding static or collective connotations seen in neighboring figures like Populus. It corresponds to the South Node of the Moon and the zodiac sign Sagittarius.[1]Symbolic Properties
Elemental and Seasonal Associations
In geomantic tradition, the sixteen figures are classified into four elemental triplicities—fire, air, water, and earth—reflecting their foundational qualities and influences, as outlined by Heinrich Cornelius Agrippa in his work on geomancy.[24] These assignments draw from the classical understanding of elements as dynamic forces tied to natural cycles, including humoral theory, where elements correspond to bodily humors and environmental conditions to explain temperament and change.[38] Fire figures embody passion, action, and transformation, evoking the intensity of combustion and initiative; they are associated with summer, the season of peak vitality and heat.[39] Representative examples include Puer, symbolizing youthful aggression and drive, and Fortuna Major, denoting greater fortune through bold endeavors.[23] Air figures represent intellect, communication, and adaptability, aligned with spring's renewal and growth.[39] Figures such as Laetitia, indicating joy and elevation, and Conjunctio, signifying union and mediation, exemplify this airy mobility.[24] Water figures convey emotion, intuition, and fluidity, corresponding to winter's introspection and dormancy.[39] Key instances are Populus, representing the populace or collective flow, and Albus, denoting wisdom through receptive clarity.[23] Earth figures emphasize stability, materiality, and endurance, linked to autumn's harvest and consolidation.[39] Examples include Tristitia, embodying sorrow and restraint, and Carcer, symbolizing confinement or grounded structure.[24] The figures' inherent qualities—such as mobile (entering or exiting) versus stable—further modulate these seasonal associations, influencing the flow of energy from initiation to completion, as per Agrippa's framework integrating elemental dynamics with natural progression.[40]| Figure | Element | Season | Key Symbolism |
|---|---|---|---|
| Fortuna Major | Fire | Summer | Bold success, vital action |
| Rubeus | Fire | Summer | Intensity, potential danger |
| Puer | Fire | Summer | Youthful passion, aggression |
| Amissio | Fire | Summer | Loss through overexertion |
| Fortuna Minor | Air | Spring | Lesser fortune, quick change |
| Puella | Air | Spring | Gentleness, harmony |
| Laetitia | Air | Spring | Joy, spiritual uplift |
| Conjunctio | Air | Spring | Connection, negotiation |
| Acquisitio | Water | Winter | Gain, emotional depth |
| Cauda Draconis | Water | Winter | Endings, intuitive release |
| Via | Water | Winter | Path, transitional flow |
| Populus | Water | Winter | Collective, receptive unity |
| Carcer | Earth | Autumn | Restriction, material security |
| Tristitia | Earth | Autumn | Melancholy, enduring patience |
| Albus | Earth | Autumn | Purity, grounded intellect |
| Caput Draconis | Earth | Autumn | Beginnings, fertile stability |
Zodiacal and Planetary Correspondences
In geomantic divination, each of the 16 figures is assigned correspondences to planets and zodiac signs, drawing from medieval astrological traditions that integrate planetary rulerships with the figures' inherent qualities of mobility and stability. These associations enhance interpretive depth by linking the figures to astrological timing and thematic influences; for instance, a figure's planetary ruler can indicate the most auspicious moments for related actions, while its zodiacal attribution provides contextual nuances based on the sign's elemental and modal properties.[2] The assignments typically pair each planet with two figures (except the luminaries and nodes), allocating the planet's domiciles—its two ruling zodiac signs—to them according to the figures' order of appearance in traditional lists, with "entering" or mobile figures often taking the initial sign and stable ones the terminal sign.[2] The following table summarizes the standard planetary and zodiacal correspondences for the figures, as detailed in historical geomantic treatises. Variations exist across traditions (e.g., some attribute Fortuna Minor to Aries as the Sun's exaltation, or Caput Draconis to Virgo and Cauda Draconis to Sagittarius per Gerard of Cremona), but these reflect the predominant medieval framework where the figures "enter" signs based on their dynamic properties.[2][41]| Figure | Planet | Zodiac Sign |
|---|---|---|
| Populus | Moon | Cancer |
| Via | Moon | Cancer |
| Albus | Mercury | Gemini |
| Coniunctio | Mercury | Virgo |
| Puella | Venus | Taurus |
| Amissio | Venus | Libra |
| Fortuna Major | Sun | Leo |
| Fortuna Minor | Sun | Leo |
| Puer | Mars | Aries |
| Rubeus | Mars | Scorpio |
| Acquisitio | Jupiter | Sagittarius |
| Laetitia | Jupiter | Pisces |
| Tristitia | Saturn | Aquarius |
| Carcer | Saturn | Capricorn |
| Caput Draconis | North Node | Capricorn |
| Cauda Draconis | South Node | Scorpio |