Working with the Third Pentacle of Venus: love, showing, and the hour of Venus

A pentacle, not a demon seal

This article is about a pentacle from the Greater Key of Solomon, not about a Goetia demon seal, and that distinction matters for how you work with it. A Goetia seal is a seal for a spirit. A Key of Solomon pentacle is a figure drawn for a purpose, with names written within it, to be shown, carried, or used in a working of that purpose. Its description is short, and its shortness is part of its character: this, if it be only shown unto any person, serveth to attract love.

Showing is a particular kind of working, and it is worth thinking about what it means in practice. To show a pentacle to a person is not to hide it, and it is not to use it in secret. It is to let the figure be seen, in the open, as part of a meeting or an encounter. That openness changes the working. A tool that is shown has to be made well enough to be seen, and a practitioner who shows it has to be willing to be seen showing it. If you are not willing to show it, you are not yet working in the way this pentacle describes, and you should think about whether a different kind of work fits your situation better.

Be specific with yourself about what kind of love you mean. Love, in general, covers affection, attraction, friendship, reconciliation, and lasting commitment, and those are different matters. A pentacle shown to attract love in general, without any clarity about which kind of love, is hard to read afterwards, and hard to judge. Write down, in one sentence, what you mean, and who, if anyone in particular, is involved. That sentence is not part of the pentacle. It is part of your preparation, and it keeps the work honest.

Venus, Monachiel, and the day and hour

That timing is not decoration. In the Key of Solomon system, days and hours are assigned to planets, and Venus has her own day and her own hours within each day. Working at one o'clock or at eight, in the hour of Venus, means working when the system itself says Venus is the ruling influence for that hour, rather than working whenever it happens to be convenient.

If you work in this system, you will already know how to reckon planetary days and hours, or you will have a table you trust. If you do not, do not guess. Learn the reckoning first, or work with a teacher who can show you, because a timing instruction followed approximately is not the same as a timing instruction followed correctly. The article does not replace that teaching.

Invocation, in this context, means calling upon that Angel in the working, in the form your practice in the Key of Solomon system already gives you. Use the form you have been taught, in the day and hour given, and keep the working within the system you actually practise, rather than mixing systems because they sound similar.

The names within the figure

Those names are part of the pentacle itself, written within the figure, not added on afterwards. A pentacle is not just a picture with a name on it. It is a figure whose lines, letters, and names together make the thing it is. That is why a cast pentacle, made as a solid object, is different from a printed image of a pentacle: the figure is carried as a thing, with weight and surface, and it can be shown, held, and kept.

Do not try to redraw the pentacle from memory, and do not try to complete a truncated list of names by guessing. If the full figure matters to your working, and it should, work from a complete Key of Solomon text you trust, or from the pendant itself, which carries the figure as cast. Guessing at sacred names, or at the letters of a figure, is not a small error. It changes the thing you are working with, and it leaves you with a working you cannot honestly describe as the Third Pentacle of Venus.

When the pendant arrives, take time to look at it closely, in good light, and to hold it. Learn the figure by looking, not by assuming you know it. Set it aside in a clean place used for your working tools, and do not throw it in with keys, coins, and loose change. A tool that is treated carelessly tends to be worked with carelessly, and that shows in the record you keep afterwards.

Copper, casting, and why the metal is named

This one is for Venus, and it is cast in copper.

Lost wax casting means the pentacle is first worked in wax, then cast in metal from that wax form. The wax is lost in the process, and the metal that remains is a solid, cast object, not a printed shell. You can feel that difference when you hold it: a cast pendant has weight, it has a surface that shows the hand work, and it does not have the layered texture of a printed object.

A pendant, as opposed to a disc or a ring, is made to be worn or carried on the person, and for a pentacle that is to be shown, wearing it where it can be seen is part of how showing works in practice. Wear it when you are working, and put it away properly when you are not, rather than leaving it where it can be scratched or lost. If the bail loosens, or if the pendant shows damage, stop wearing it until it can be repaired properly. A tool you are worried about losing is a tool you cannot focus with.

A simple working order, to adapt to your own practice

First, be clear about the kind of love you mean, in one sentence. Second, reckon the day and hour of Venus, and plan the working for one o'clock or at eight, in that hour. Third, prepare yourself and the place, as you would for any Key of Solomon working in your system: clean, set apart, and unhurried. Fourth, invoke Monachiel in the form your practice gives you, in that hour. Fifth, show the pentacle as the description directs, deliberately, not hurriedly. Sixth, close the working properly, in whatever way your practice requires, and put the pendant away in its proper place.

Afterwards, write down what you did, when you did it, in what hour, and what you noticed. Not what you hoped would happen, but what actually happened, in plain language, over days and weeks, not just on the day itself. That record is what lets you tell, weeks later, whether anything changed, and whether that change had anything to do with the work. Note the pendant itself in that record: when you wore it, when you showed it, and what you noticed on days when you carried it compared with days when you did not.

Do not repeat the same working endlessly in the hope that repetition alone will force a result. Do the work properly, once, in the hour given, observe, and then decide, calmly, whether a second working, a different approach, or no further working is the right next step. Repetition without reflection is not persistence. It is noise.

Keeping a record, and knowing when to stop

Keep a short record for each working: date, hour, purpose in one sentence, pentacle used, what you did, and what you noticed afterwards. If nothing changes, that is also information. It may mean the purpose was unclear, the timing was wrong, the work was not appropriate, or simply that the situation needs a different approach, or ordinary-world action alongside the ritual work.

Sometimes the right answer is not a pentacle working at all. If the situation is a relationship matter that needs an honest conversation, a boundary, or a decision in the ordinary world, deal with that matter first, or at the same time. Ritual work is not a substitute for speaking plainly, or for leaving a situation that is not good for you. If you are unsure whether a working is appropriate, wait, ask a teacher you trust, or choose a simpler practice first and see how that sits.

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