The Goetia is not simply a list. It has a structure, and knowing the structure makes the catalogue legible.
The book opens with a body of ritual apparatus: conjurations, a constraint, an address, a formula of dismissal, instructions for a circle and a triangle, and descriptions of the implements, a vessel, a ring, a pentacle, a wand, said to be needed. It then gives the catalogue of seventy-two entries. Each entry supplies a number, a name, a rank, a legion count, an appearance, a set of offices, and a seal: a linear figure, drawn in the manuscripts, held to be the spirit's own character.
The seals are the part with the least visible ancestry. Weyer does not give them. They appear with the Lemegeton, they vary between manuscripts in their details, and no source explains how they were derived. Attempts to read them as compressed Hebrew letters, as planetary sigils, or as products of a magic square have all been made and none has produced a rule that generates the whole set.
Beleth's entry is among the most elaborate in its stage directions, a pale horse, trumpets and music sounding before him, a particular wand, a particular quarter of the compass, an insistence that the operator behave in a specific way. Entries at this level of detail are the exception; most run to two or three sentences.
What that detail indicates is uneven sourcing rather than special importance. Where the compiler had more material he used it. Where he had a line from Scot's English Weyer he printed the line. The result is a catalogue in which the length of an entry reflects the accidents of what survived to be copied, and not the standing of the spirit described.