Andrealphus: a 2-inch seal for geometry, astronomy, and transformation, worn on the chest

Andrealphus, and a larger seal for a larger measure

Andrealphus is presented in the Grimoire Companion material as a Marquis, with 30 legions, a spirit who teaches geometry and astronomy to perfection, and grants transformation. Geometry and astronomy belong together in the old sense, because both are arts of measure. Geometry measures the earth, the floor, the circle, the line. Astronomy measures the heavens, the stars, the planets, the turning of the year. A person who can measure both, and hold both measures in mind at once, is a person who can place a working in its proper scale: not too large, not too small, and in the right relation to the world around it.

A 2-inch pendant is a larger form for that kind of work, and the size is part of the point. A 2-inch seal is large enough to hold in the hand and to see clearly, without squinting, and large enough to place under a candle, on an altar, or on a working surface, where it can be seen throughout the working. A smaller seal, worn quietly, keeps the work private. A larger seal, placed where it can be seen, keeps the work in front of you, which is what a working about measure needs: a figure you can look at, a circle you can see, a measure you can check, rather than a figure you have to remember.

Teaching to perfection, in the old wording, is a strong claim, and it is worth reading as a claim about thoroughness, not about instant mastery. Perfection, here, means a teaching that does not leave gaps: a geometry that is worked through, not skimmed, and an astronomy that is learned by observation, not only by reading. If you are studying either art, and you find yourself skipping the hard parts, that is the kind of gap Andrealphus work is traditionally connected with. Before you begin, ask what part of the study you have been avoiding, and whether you are willing to work through it, rather than asking for the result without the study.

Transformation, measured, not vague

Transformation, the third piece, follows from that thoroughness. A transformation that is not measured is only a change, and changes happen all the time, without any working at all. A transformation that is measured — a form that is taken, held, and then taken again in a new shape, with the measure kept through the change — is a different matter. That is the kind of transformation this article is about: not a vague wish to become someone else, but a specific change of form, in a specific matter, that you can describe before it happens, and recognise after it has happened.

A pendant, worn on the chest, suits a measured transformation well, because the chest is where a transformation is carried, in the body, through ordinary days. A ring puts the seal on the hand that measures. A pendant puts it over the heart, where the change is felt, and where it has to hold up through ordinary days, not only on the night of the working. Before you order, ask whether your work needs the seal on the hand, for measuring and making, or on the chest, for carrying a change through time. The answer changes whether this pendant, or the Andrealphus ring, is the right form for you. Both are offered, for the same spirit, and they are not interchangeable.

Keep a record that matches the measure. For Andrealphus work, write down the figure you drew, the observation you made, the form you took and the form you took afterwards, and whether the measure held through the change. That record is what lets you tell, weeks later, whether anything changed, and whether that change had anything to do with the work. A transformation that cannot be described, before and after, in plain language, is not a measured transformation. It is a feeling, and feelings change all the time, without any working at all. No guaranteed magical result is promised anywhere in this article. That wording is about the work itself, not about delivery dates for physical items.

How a lost-wax cast seal is made

The seals offered here 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, 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.

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. This pendant is 2 inches, a size that is large enough to hold in the hand and to see clearly, and small enough to carry.

Holding it, carrying it, wearing it, showing it

A seal can be worked with in several plain ways, and it is worth naming them, because they are different acts. You can hold it in the hand during a working, feeling its weight and its surface while you speak. You can place it under a candle, so the working is done over the seal itself. You can put oil on it, anointing it deliberately for a purpose, naming that purpose in your own words. You can carry it with you, in a pocket or a pouch, through the days when the work needs to stay with you. You can wear it as a pendant, so it is on your body during the working and afterwards. And, where the work calls for it, you can show it to the desired person, as a seal shown, not merely as a picture described.

Those are not six ways of doing the same thing. Holding a seal is private and immediate. Placing it under a candle fixes the working to a place and a time. Anointing it marks it for a purpose. Carrying it extends the working beyond the night it was done. Wearing it as a pendant makes it part of how you present yourself. Showing it to a person makes the seal part of a meeting between people. Before you order, ask which of those acts your work actually calls for, because the answer changes whether a pendant, a disc, or a ring is the right form for you.

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. Do not use a seal as a substitute for the rest of the working. Carrying a seal 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.

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: 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. Second, set out the seal, and any oil, incense, or candle you will use. Third, anoint or fumigate the seal, 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 seal away in its proper place.

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 seal 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. That record is what lets you tell, weeks later, whether anything changed, and whether that change had anything to do with the work. 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.

Care for a cast pendant

Care for a 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 a sign that the seal has stopped working. 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. No guaranteed magical result is promised anywhere in this article. That wording is about the work itself, not about delivery dates for physical items.

Andrealphus cast seal pendant, 2 inches

A seal for Andrealphus should be a seal, not a picture of one. This one is for traditional Goetia work with Andrealphus, Marquis, 30 legions, teacher of geometry and astronomy to perfection, and granter of transformation, as the Grimoire Companion material presents him.

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, 2 inches, made to be held, anointed, placed under a candle, carried, worn, or shown, as your practice calls for. I make no promise about what it will do for you, only that it is cast by hand, for this work. That wording is about the magical result, not about delivery dates.

If you want an Andrealphus seal made in this way, this is the one I offer: Andrealphus cast Daemon Demon seal pendant, 2 inches, $216 CAD. View the product

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