Creating the requisite tools for Enochian magick: temple, table, and tools made properly

Tools should be made properly, not improvised from a picture and a guess

Tools for Enochian work should be made properly, not improvised from a picture and a guess. That is a habit that is easy to fall into when you are keen to begin, and when pictures of tools are easy to find, but instructions for making them properly are not.

A picture tells you what a tool looks like. It does not tell you how it is made, in what order, with what materials, in what proportions, or with what words and actions at each stage. It does not tell you what to do when a measurement does not fit your room, or when a material is not available, or when two sources disagree. Those are the questions that actually arise when you sit down to make a tool, and they are the questions that a proper teaching on tool creation should answer.

Improvisation has its place, in a mature practice, when you already know the system well enough to know what can be varied and what cannot. Improvisation at the start, before you know the system, is not the same thing. It is guessing, and guessing at the foundation of a working tends to produce a working that you cannot trust, and cannot repeat, because you do not know what you actually did.

Why Enochian tools are a system, not a shopping list

Enochian tools are not a random collection of objects. They form a system, and they relate to each other, and to the temple space in which they are used. The great table, the banners, the altar, the Sigilum Dei Aemeth, the ring, and more, as named in the title of this teaching, are not separate purchases. They are parts of a working space, and they are meant to be used together, in a particular arrangement, for a particular kind of work.

That is why temple setup and ritual setup are covered together in this teaching, rather than as two unrelated topics. The temple is the space in which the ritual happens, and the ritual is the work that happens in that space. If you make the tools without understanding the temple, you will have objects without a place to use them. If you set up a temple without understanding the tools, you will have a space without the instruments it was designed for.

Reading about the tools, one at a time, in isolation, does not teach you that relationship. Making them, in order, with an understanding of how they fit together, does. That is the difference between collecting and practising, and it is the difference this teaching is aimed at.

What the diaries do and do not cover

That is a frank statement, and it is worth taking seriously, because it explains why a separate teaching on tool creation is needed at all.

If the diaries had covered this topic fully, clearly, and in one place, there would be no need for a teaching that gathers it together. They do not. They cover it in fragments, across different entries, with gaps, with instructions that assume knowledge the reader may not have, and with details that are easy to miss if you are reading for the first time.

That distinction is not a small point. It is the difference between a teaching that pretends to be a direct transcript, and a teaching that is honest about where the source ends and where interpretation begins. A practitioner who knows which parts are source and which parts are hypothesis can work with the teaching properly, can check it against the diaries themselves, and can decide, for themselves, where they agree and where they do not. A practitioner who is not told that distinction cannot do that, and will mistake interpretation for source, which is a serious error in a traditional system.

The great table, and why it comes first in many setups

The great table is named first in the title of this teaching, and for good reason. In Enochian work, the great table is the central working surface, the map of the system in tabular form, and the place on which much of the rest of the work is oriented. Making it properly involves more than copying a grid. It involves understanding what the table represents, how its parts relate, and how it is to be used in a working.

This article does not publish a full set of instructions for making a great table, because that is the teaching itself, not a general article about it. It can say, in general terms, that making a table involves care with layout, with lettering, and with proportion, and that a table made hurriedly, with errors in the letters, is not a minor flaw. It is a flaw in the very thing the table is meant to represent, and it will show up every time you use it.

Take time with a table. Check it, and check it again, against a reliable source, before you use it. If you find an error, correct it, or remake the part that is wrong, rather than hoping the error will not matter. In a system that depends on names and letters, errors in letters do matter, and pretending otherwise does not make them go away.

Banners, altar, Sigilum Dei Aemeth, and ring

Banners, in this context, are not decoration. They are working items, made for the temple space, with a specific purpose and a specific place. Making a banner involves the same care as making a table: correct design, correct materials as far as the teaching specifies them, and correct placement in the temple. A banner hung for appearance, in the wrong place, or with the wrong design, is not the same as a banner made and placed for the work.

The altar is the working surface on which the tools are placed, and on which the ritual itself is performed. Its setup, its orientation, and its relationship to the table and to the rest of the temple are part of the teaching, not an afterthought. An altar that is too small, too cluttered, or placed without regard to the temple arrangement will make every working that follows it harder, in a practical sense, before any ritual consideration even arises.

The Sigilum Dei Aemeth, the Seal of God, is a central tool in Enochian work, and it is named in this teaching alongside the table, banners, altar, and ring. Making it properly is a substantial piece of work in itself, and it should not be rushed, or reduced to a printed image stuck to a board. The teaching covers it as part of the full set of requisite tools, in its proper place, with the same attention to source and hypothesis as the rest of the teaching.

The ring, likewise, is not a piece of jewellery chosen for appearance. It is a requisite tool, made for the work, with a specific form and a specific use. Making a ring involves materials, proportions, and inscriptions that must be got right, and that cannot be got right from a picture alone. The teaching covers the ring as part of the set, not as an isolated item, because it is used as part of the set.

The title adds, and more, after those named items. That and more is a reminder that the set is larger than any short list, and that a teaching on requisite tools should cover the full set, not just the most famous items. Do not assume, from a short list in a title, that the teaching stops at those items. It covers, in Athena's words, all of the aspects of Enochian temple setup, as well as ritual setup.

Reading it several times, before you begin

That advice should be taken literally, not as a polite warning. A long teaching on temple setup is long because the topic is long, not because it is padded. It covers many tools, many arrangements, and many details, and trying to absorb it in one sitting, and then starting to build the next day, is a recipe for mistakes that will have to be undone later.

Read it once, to get the shape of the whole. Read it again, to note the tools you will need, the materials you will need, and the space you will need. Read it a third time, with a notebook, marking the parts where Athena denotes her own hypothesis, and the parts where she says something is clearly stated by the EEs. That third reading is where you will start to understand the teaching properly, rather than just following it step by step without understanding why each step is there.

Then, and only then, begin to make the first tool, or to set up the first part of the temple. Begin with the simplest, or the most central, item, depending on what the teaching itself recommends, and work through the set in order, checking each item against the teaching as you go, rather than making everything at once and checking at the end.

Making, not buying, and why that distinction matters here

There is a difference, in this kind of work, between making a tool and buying a tool, and that difference is worth stating plainly. A tool you make yourself, following a proper teaching, carries your own work in it, from the start. You know how it was made, you know what materials were used, you know where the difficulties were, and you know what you did to overcome them. That knowledge is part of the tool, in a practical sense, because it is part of how you will use it afterwards.

A tool you buy, ready made, can also be a good tool, if it was made properly, by someone who knows the system. The seals and other cast tools on this site are an example of that: made by Athena, by hand, for the work, and blessed before sending. It is for the practitioner who wants to make the tools themselves, in the system, correctly, and who is willing to take the time that making properly requires.

If you want ready-made tools, that is a legitimate choice, and this site offers them. If you want to make your own, this teaching is the place to learn how, in the Enochian system, with the source and hypothesis distinction kept clear throughout.

Common mistakes, and how to avoid them

One common mistake is to start with the most impressive tool, rather than with the most central one. A Sigilum Dei Aemeth, for example, is impressive, and it is tempting to start there. But if you do not yet understand the temple arrangement, or the table, you will not know where that sigil fits, or how it is to be used, and you will have made an impressive object without a working context for it.

Another common mistake is to use materials that are convenient, rather than materials that the teaching specifies, without noting the substitution. If you must substitute, note it, in writing, so you know, later, what you actually made, rather than what you intended to make. A substitution made knowingly, and noted, is different from a substitution made carelessly, and forgotten.

A third common mistake is to work from a single picture, found online, without checking it against a reliable source. Pictures online are often wrong, often incomplete, and often copied from other pictures that were themselves wrong. Check every design against the teaching, and against the diaries where the teaching points you to them, before you commit to making it. That checking takes time, but it takes less time than remaking a tool that was wrong from the start.

Keeping a record of your temple setup

Keep a record of your temple setup, just as you would keep a record of a working. Note each tool, when you made it, what materials you used, what difficulties you encountered, and what you did to overcome them. Note, too, where the teaching stated something clearly, and where it denoted its own hypothesis, because that distinction will matter later, when you come back to a tool and wonder why it was made in a particular way.

That record is also useful if you later need to remake a tool, or to make a second set, or to teach someone else how you made yours. A tool made without a record is a tool whose making cannot be repeated, and a temple set up without a record is a temple whose arrangement cannot be checked, later, against the teaching it was meant to follow.

Do not rush the record, either. Write it as you go, not at the end, when you have forgotten the details. A short note made on the day you make a tool is worth more than a long essay written months later, from memory, about a set of tools you no longer remember making.

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