Fortune’s novels were designed to cause lasting changes of consciousness in its readers, which would in turn (Fortune believed) cause manifest changes in the reader’s life, particularly regarding their erotic and imaginal landscape. Fortune encouraged her readers to engage in their own ‘deliberately-willed day-dream,’ and her novels contain various soliloquies on the nature of imagination and subjectivity, and the use of fantasy as magical practice. They were also intended to spark and inspire magical practice, teaching readers real techniques through their stories. In The Goat-Foot God, this takes the form of a composition of place, a kataphatic, visionary form of active meditation in which one visualises a detailed imaginal space. This practice is inspired by the practices of the Jesuit mystic St. Ignatius and is utilised by the novel’s protagonist as a magical and initiatory tool. In this chapter I will explore the composition of place technique as an initiatory tool. Discussing the technique’s relationship with Decadence, the Golden Dawn, and Christian Science, I will argue that Fortune used a syncretic approach to establish authority and tradition for a magical technique she was pioneering in this particular form. As presented in The Goat-Foot God, the composition of place technique involves creating imaginal compositions imbued with intense emotion. In the work of St Ignatius these compositions are of biblical scenes, but in The Goat-Foot God they are Pagan, and have the potential to overspill and fuse with reality. These compositions can be collaborative and inter-subjective; they have the potential to affect a person’s past and future lives as well as to bring about cultural regeneration in the world around them.