Working with Andrealphus: a small cast seal pendant, 1 inch
A small pendant, and why small is a choice
This pendant is 1 inch. That size is a choice, and it should be made deliberately, because a 1 inch pendant behaves differently from a 2 inch pendant, in daily wear and in workings alike.
A 1 inch pendant is discreet. It sits lightly, it does not catch on clothing as easily, and it can be worn daily, under a shirt or openly, without drawing the eye. For a practitioner who works in ordinary life, among people who do not share the practice, that discretion is a practical virtue, not a compromise.
A 1 inch pendant is also a more private object. Its seal is small, and it is read at close range, by the wearer, rather than displayed at a distance. If you want a seal that announces itself, a larger pendant will serve you better. If you want a seal that stays close, and is known mainly to you, a 1 inch pendant is the right form, and this article is written for that use.
Andrealphus, and what this article does not invent
This pendant is for traditional Goetia work with Andrealphus, as a hand cast seal. If you work with Andrealphus, you will be bringing your own study and your own system to the pendant. The pendant gives that work a form you can carry. It does not supply the system, and it should not be bought as a substitute for learning it.
That restraint matters, because a small pendant is easy to buy on impulse, for a name that sounds interesting, without study behind it. Do not do that with this one. Study Andrealphus, in the tradition you practise, understand what working with him means in that tradition, and then decide whether a pendant, in this size, is the form you want for that work.
If you cannot state the purpose of working with Andrealphus in one clear sentence, you are not ready to order a pendant for that work. Write it down, leave it overnight, and come back to see if it still reads true. That pause is part of the work, not a delay in it.
How a lost-wax cast seal pendant is made
These are lost wax cast seals of the Daemon Demons of the various grimoires. They are pure metal which is actually cast, starting with a wax version.
In lost-wax casting, the seal is first worked in wax, then cast in metal from that wax form. The wax is lost in the process, which is where the name comes from, 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 seal has weight, even at 1 inch, it has a surface that shows the hand work, and it does not have the layered texture of a printed object.
That process also explains why a cast seal is made to order, and why it takes time.
Pendant form, bail, and daily wear
That is a practical detail, and it is worth knowing before you order, because it affects how the pendant hangs and how it will wear over time.
A 1 inch pendant hangs lightly, and that lightness is part of its daily use. It does not pull, it does not swing heavily, and it can be worn under clothing without bulk. That makes it easier to wear daily, and daily wear is part of the work for a pendant seal, not an afterthought. A pendant left in a drawer is not being carried, and a seal that is not carried is not doing the work a pendant is made for.
Choose the cord or chain for daily wear with the same care as the pendant itself. A cord that breaks, a chain that catches, or a clasp that fails will lose the pendant, whatever its seal. Check the cord or chain regularly, replace it when it shows wear, and keep a spare, so a broken cord does not mean a lost pendant. Check them on the live page.
Holding, anointing, and fumigating a small pendant
A small pendant can be worked with in the same ways as a larger seal, with the advantage that it is already at hand. Hold it in your hands during a working, turn it so you can see the seal, and state its purpose in your own words. That holding is not decoration. It is how you bring your attention to the seal, and to the work, at the start of a working.
Anointing a seal is a way of marking it for a purpose. In practice, that is often done with a matching oil, applied deliberately, naming the purpose in your own words. Andrealphus also has a matching oil and a matching incense, both at $44 CAD, for the same kind of Goetia work, made in small batches when you order. This article is about the pendant, so it does not turn into a second article about oil or incense, but it is worth knowing those companions exist, because a pendant that is never anointed or fumigated, and is only worn as jewellery, is not being worked with in the same way as a pendant prepared for a working and then carried.
Fumigating a seal is the companion practice: passing it through incense smoke, to start a working, and for fumigating the tools and talismans that will be used in it. With a small pendant, do that fumigation carefully, holding the pendant by its bail or cord, passing it through the smoke with the purpose in mind, rather than waving it through quickly and putting it away. A pendant can also be placed under a candle during a working, or shown in the working in the way your practice calls for, where showing the seal is part of the rite.
Preparing to work with a pendant seal
Preparation is most of the work, and with a pendant seal that preparation starts before the pendant arrives. Be clear about why you are working with Andrealphus, what you are asking for, and what you are prepared to do yourself. If you cannot state the matter in one clear sentence, write it down, leave it overnight, and come back to see if it still reads true.
When the pendant arrives, do not start by wearing it everywhere at once. Take time to look at it, to hold it, and to set it aside in a clean place used for your working tools. If your practice calls for cleansing or consecration of a new tool, follow the instructions you already follow in your system. A general article like this one is not a substitute for proper teaching in the system, and it should not be used to invent a consecration rite for a seal you have not been taught to consecrate.
Prepare the room and yourself in the same way you would for any Goetia working: clear the space, set it aside for this purpose, bathe or wash, change into clothes you do not wear for ordinary errands, and know what you are going to say, in your own words, before you begin. A clear head is a working tool, just as much as a seal, oil, or incense is.
Carrying a 1 inch pendant, and keeping it a tool
A pendant seal is made to be carried, and carrying it is part of the work, not an afterthought. Wear it when you are working, and put it away properly when you are not, rather than leaving it in a pocket with keys and loose change, or on a bathroom shelf. A tool that is treated carelessly tends to be worked with carelessly, and that shows in the record you keep afterwards.
A 1 inch pendant is small enough to be carried daily without fuss, and that is its strength. Guard against that strength becoming a weakness: a pendant that is always worn can stop being noticed at all. Keep a simple habit around it. Put it on deliberately, or touch it deliberately at the start of a working, rather than leaving it on through every activity without thought.
Notice, too, how the pendant sits over weeks: whether it stays comfortable, whether the cord or chain holds, whether the seal remains clear and readable. A pendant that is comfortable and well kept is a pendant you will actually keep carrying. A pendant that is uncomfortable, or that you are worried about losing, will be taken off and left behind, whatever its seal.
A simple working order, to adapt to your own practice
The following is a general order, not a fixed script. Adapt it to the system you already work in. First, prepare the room and yourself, as above. Second, set out the pendant, and any oil, incense, or candle you will use. Third, anoint or fumigate the pendant, if your practice calls for it, deliberately, naming the purpose in your own words. Fourth, speak your petition, clearly and once, rather than repeating it until it loses its shape. Fifth, sit quietly for a time and listen, rather than filling every moment with more words. Sixth, close the working properly, in whatever way your practice requires, and put the pendant away in its proper place, or keep wearing it deliberately, as your practice calls for.
Afterwards, write down what you did, when you did it, and what you noticed. Not what you hoped would happen, but what actually happened, in plain language. Note the pendant itself in that record: when you wore it, when you put it away, whether you anointed or fumigated it, and what you noticed on days when you carried it compared with days when you did not.
Do not use a seal as a substitute for the rest of the working. Carrying a pendant and then doing nothing else, with no petition, no attention, and no closing, is not spirit work. The seal supports the work, it does not replace it.
Care for a small cast pendant
Care for a small cast metal pendant is practical, not mystical, and it is worth stating plainly. Pure cast metal will show wear over time, especially if it is worn every day, against skin, against clothing, and against other objects. That wear is normal for a working tool, and it is not, by itself, a sign that the seal has stopped being useful. It is a sign that it has been carried.
Keep the pendant in a clean, dry place when you are not wearing it, away from other metal objects that could scratch it. Clean it gently, with a soft cloth, and do not use harsh chemicals or abrasive cleaners on it, unless you know, for the specific metal involved, that such a cleaner is safe.
If the bail loosens, or if the pendant shows damage, stop wearing it until it can be repaired properly. A tool that is falling apart is a distraction in a working, and a safety risk if it can fall off unnoticed. That is a practical point, but it is also a working point: a tool you are worried about losing is a tool you cannot focus with.
Keeping a record, and knowing when to stop
Keep a short record for each working: date, purpose in one sentence, seal and any oil or incense used, what you did, and what you noticed afterwards, over days and weeks, not just on the night itself. If nothing changes, that is also information. It may mean the petition was unclear, the timing was wrong, the work was not appropriate, or simply that the situation needs a different approach.
Do not repeat the same working endlessly in the hope that repetition alone will force a result. Do the work properly, once, 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.
Sometimes the right answer is not a spirit working at all. If the situation is a legal matter, a safety matter, or a medical matter, deal with that matter in the ordinary world first, or at the same time. Ritual work is not a substitute for a lawyer, a doctor, or for leaving a dangerous situation.
Andrealphus cast seal pendant, 1 inch
A seal pendant should be a seal, not a picture of one, and this one is made small enough to carry daily.
I make these as lost wax cast seals, cast from a wax version in pure metal, one at a time, and I bless each one myself before it is sent out. This one is Andrealphus, as a pendant, 1 inch, made for traditional Goetia work with Andrealphus, to be carried and worked with, not left in a drawer as decoration. I make no promise about what it will do for you, only that it is cast by hand, for this work.
If you want an Andrealphus seal made in this way, this is the one I offer: Andrealphus cast Daemon Demon seal pendant, 1 inch, $108 CAD. View the product
I also make the companions for the same work: Andrealphus Goetia incense, $44 CAD, and Andrealphus Goetia grimoire demon evocation oil, $44 CAD, 1/2 oz bottle. View the product
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