Andrealphus: a cast seal ring with a gemstone, for geometry, astronomy, and transformation

Andrealphus, and why geometry and astronomy belong together

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.

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, 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 ring, rather than a pendant, and a gemstone set in it

A ring is a different tool from a pendant, and that difference is worth stating, because it changes how the seal is worked with. A pendant hangs, and it can be held, placed under a candle, or shown. A ring is worn on the hand, and the hand is the instrument of geometry and of making: it draws the circle, it holds the compass, it turns the page, it writes the figure. A seal ring for Andrealphus puts the seal where the measuring is done, on the hand that does the work, rather than on the chest, where it is carried but not used.

This ring is a cast seal ring with a gemstone, and the gemstone is part of the ring, not an afterthought added to it. That matters, because a gemstone is not only a colour. It is a stone with its own weight, its own hardness, and its own place in the ring, and a ring with a stone set in it needs to be worn, cleaned, and checked differently from a plain metal ring.

Wearing a seal ring is itself a discipline. A ring on the hand is knocked, caught, and worn down faster than a pendant that hangs free. That wear is normal for a working tool, and it is not a sign that the ring has stopped working. It is a sign that it has been worn through ordinary days, which is where geometry, astronomy, and transformation actually have to hold up. Check the setting from time to time, as you would for any ring with a stone. A loose stone is a practical risk, and a distraction in a working, because a tool you are worried about losing is a tool you cannot focus with.

How a lost-wax cast ring 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, which is much higher quality than the 3D printed versions using metal powder and plastic that you find around the internet. 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 ring 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 ring is made to order, and why it takes time.

A ring with a gemstone also needs a plain word about size. Before you order, make sure you know the size you need, and how it is to be given, because that is a practical detail that cannot be fixed by ritual intention alone. A ring that fits, that can be worn through a working without slipping or pinching, is a tool you can forget about in the best sense: you can attend to the work, not to the ring.

Working with the ring, in practice

Preparation is most of the work. Before you wear the ring for a working, be clear about why you are working with Andrealphus, what you are asking to learn or to transform, and what you are prepared to do yourself, in study and in practice. 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 ring 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 that is used for your working tools.

A seal ring can be worked with in the plain ways named for seals generally: holding it, placing it under a candle, putting oil on it, carrying it, wearing it, and, where the work calls for it, showing it to the desired person. For a ring, wearing it is the central act, because the ring is made to be worn on the hand that measures and makes. Anoint it deliberately, if your practice calls for it, naming the purpose in your own words, and fumigate it by passing it through incense smoke, to start a working, and for fumigating the tools that will be used in it. Do both deliberately, not hurriedly, and then speak your petition, clearly and once, rather than repeating it until it loses its shape.

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. For Andrealphus work, that record is especially useful, because geometry, astronomy, and transformation are all things you can track: 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. 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. No guaranteed magical result is promised anywhere in this article. That wording is about the work itself, not about delivery dates for physical items.

Care for a cast ring with a gemstone

Care for a cast ring with a gemstone is practical, not mystical, and it is worth stating plainly. Pure cast metal will show wear over time, especially on the hand, against skin, against clothing, and against other objects. That wear is normal for a working tool. Keep the ring in a clean, dry place when you are not wearing it, away from other metal objects that could scratch it, and away from the jumble of keys and loose change that wears down any ring fastest. 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 and the specific stone involved, that such a cleaner is safe.

If the setting loosens, or if the ring 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. Put the ring away properly, and put it on deliberately, and it will carry the association of deliberate work, rather than the association of an everyday object that happens to be on your hand.

Andrealphus cast seal ring with a gemstone

A seal ring puts the seal where the measuring is done, on the hand. 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 cast seal ring with a gemstone, made to be worn on the hand 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. That wording is about the magical result, not about delivery dates.

If you want an Andrealphus ring made in this way, this is the one I offer: Andrealphus Goetia cast seal ring with a gemstone, $324 CAD. View the product

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