
A Guide to Different Planetary Geometric Arrangements
Pretty much everyone in magic is familiar with the Lesser Banishing Ritual of the Pentagram, the ritual used by the Golden Dawn as a standard banishing ritual, which involves drawing the pentagrams in the air on the four corners and so on. As each point of the pentagram is connected to an element, a different but similar ritual, the Greater Ritual of the Pentagram, may be used to tune your ritual space for elemental invocation. The same may be done for planetary forces, but in GD logic the pentagram is a sign of the microcosm (elements), while for macrocosmic forces (planets) the hexagram is used instead, which is the figure 1 in the image above.
In the Greater Invoking Ritual of the Hexagram, thus, you draw the hexagrams in the air according to the planet assigned to each corner, clockwise (anti-clockwise banishes). This neatly arranges them in a way that mimics the distribution of planetary correspondences in the Hermetic-Qabbalistic Tree of Life system used by the GD (in which Binah = Saturn, Chesed = Jupiter etc).
You’ll notice though that only the sun has no corner because it’s treated as the sum (no pun intended) of all planets, so a GIRH for the sun involves drawing ALL 6 other hexagrams. This literally hurts.
There are other systems, though, which, in a more practical fashion use a heptagram (7 corners, 7 planets). Figure number 2 is the one used in Sorita D’Este and David Rankine’s version of the planetary ritual explained in their book Practical Planetary Magick (Sorita also explains how it works on her blog). It features the chubbier variation of the heptagram (called a 7/2 heptagram) and the planets are arranged in a week-day cycle order. Number 3 is the skinnier heptagram (7/3) used by the Aurum Solis order (source: Melita Dennings and Philip Osbourne’s Planetary Magick: The Heart of Western Magick). Starting from Saturn at the top, as you follow the line you’ll get the same order as from the GD hexagram (Saturn-Jupiter-Mars-(Sun)-Venus-Mercury-Moon), also mimicking the descent from the 3rd sephirah, Binah, all the way down to Yesod.
The bottom three figures are purely theoretical and, as far as I know, are yet to be actually used in ritual, though they might be useful for me as I’m searching for a more Babylonian-centric system. Numbers 4 and 5 are derived from an academic paper by Peter James and Marinus Anthony van der Sluijs called “Ziggurats, Colors, and Planets: Rawlinson Revisited”, which aims at understanding what planetary order ancient Babylonians used, as well as their color correspondences, based on archeological evidence. Thrillingly for the occultist, they arrive at a pentagram and heptagram distribution: “As it happens, the Ecbatana ziggurat order can be correlated with the standard Neo-Babylonian sequence by means of a pentagram, by plotting either on the corners and reading along the diagonal lines. Such a result is not a mere curiosity. It is well known that, in imperial Roman times, the sequence of the weekdays (by their tutelary deities) was derived from the quasi-heliocentric (“Chaldaean”) planet order then in vogue (Cassius Dio 37.18–19; Boll 1911: 372–75; Neugebauer 1957: 169; 1975: 691) by taking leaps of two.” The pentagram layout excludes the two luminaries, however, though I suppose the Sun could be conflated with Saturn and the Moon with Jupiter due to some weird Babylonian logic that would take too long to explain here (see Ulla Koch-Westenholz’s Mesopotamian Astrology for more info). Their heptagram layout, though, is shockingly similar to Sorita and Rankine’s version, as it also follows the week-day order cycle, though with a different starting point (its top corner is the moon, for Monday, while Sorita and Rankine’s starts with Saturn).
The final figure, number 6, is another scholarly supposition, drawn by Sara de Rose in a paper called “Is CBS 1766 a Tone-Circle?” which attempts to interpret a 7/3 hexagram drawing on a clay tablet as a musical pattern. Its corner attribution also follows the week-day order cycle. I can’t comment on it further, however, due to my lack of musical knowledge.
I have decided to put all of these figures together for my own studies, but I share them here with whomever might be reading this because I think it might be interesting to other magicians who work with planetary magick.

