Working with Andrealphus: geometry, astronomy, and transformation
Andrealphus, and why measure matters
Andrealphus is entered in the Grimoire Companion notes as a Marquis who teaches geometry and astronomy to perfection, and grants transformation. That is a distinctive combination, and it tells you what kind of work this is before you touch any tool. It is work about measure, about pattern, about the heavens as an ordered system, and about a change that follows from understanding that order properly.
Geometry, in this old sense, is not schoolroom mathematics. It is the craft of measure itself: of lines, angles, circles, and proportions, and of the way a shape, drawn correctly, holds together. A seal is geometry. A circle is geometry. A temple plan is geometry. A working space, laid out with care, is geometry. To learn geometry to perfection, in the tradition's language, is to learn to see measure clearly, and to draw and build accordingly, without sloppiness and without guesswork.
Astronomy belongs with geometry, because the heavens are the great example of measure in motion: bodies moving in courses, returning in seasons, keeping time that does not depend on human wishes. To learn astronomy to perfection is to learn that order, and to learn how to reckon with it, rather than treating the sky as decoration, or as a vague influence. It is a disciplined study, and it rewards patience in a way that quick, impressionistic work does not.
Transformation is the third part of the office, and it should be understood in that disciplined light. Transformation here is not a sudden, dramatic change imposed from outside. It is a change that follows from learning measure properly: a way of working, a way of seeing, or a way of carrying yourself that becomes different because you now understand the pattern you are working within. Be clear with yourself about what transformation you mean, because a vague wish to be changed is not a petition, and it cannot be read afterwards.
Starting with the work, not with the tool
Spirit work is not shopping, and oil does not do the studying for you. Before you anoint anything, be clear about the matter in hand, in one sentence. What are you learning, what pattern are you trying to understand, and what change are you asking for? If you cannot state it in one sentence, 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.
It is also worth asking, honestly, whether there is ordinary-world study that belongs first, or alongside. A book that needs reading properly, a drawing that needs doing carefully, a calculation that needs checking, a sky that needs observing night after night: ritual work does not replace those things, and it works best when it accompanies them, giving you the steadiness and attention to do them well. If you are working with Andrealphus on geometry or astronomy, the study itself is part of the working, not something that happens after the working is over.
Work from the instructions and teaching you already follow in the Goetia system. A general article like this one is not a substitute for proper teaching, and it should not be used to invent a purpose for a spirit you have not studied.
Preparing yourself to learn
Preparation for this kind of work is largely preparation of the student. Bathe, or at least wash your hands and face, and change into clothes you do not wear for ordinary errands. This is not about looking a certain way for anyone else. It is about marking, for yourself, that this time is set apart, and that what you are about to study matters.
Then prepare the work itself. Set out what you will study: the book, the drawing, the chart, the instrument, or the notes you are working from. Clear the table, or the working space, so the work has room, and so you are not hunting for tools halfway through. A working space that is cluttered teaches clutter, and a working space that is laid out with measure teaches measure, before a word is spoken.
Know what you are going to ask, in your own words, and know what you are not going to ask. A petition that tries to cover every possible outcome usually covers none of them well. Keep it direct, keep it honest, and keep it to the matter at hand. If the working is preparation for a period of study, rather than a single night, say so, and say how long that period is, so the working has a shape, and an end, and can be judged afterwards.
Why anointing, and why oil at all
Anointing is a way of marking something, or someone, for a purpose. In practice, it is often done on the hands, the forehead, or on a tool, seal, or candle that will be used in the working. The act itself is simple, and that simplicity is the point. You are touching the thing, naming the purpose, and doing it deliberately.
For study work, anointing the hands has a particular aptness. The hands are what draw, what write, what measure, and what turn the pages. Anointing them, deliberately, before study, marks the study itself as the working, and reminds you, through the whole session, of what you set out to learn. Oil is used for anointing because it stays. It does not evaporate in a moment like a scent on the air, and it does not wash off at the first touch. It remains on the skin or on the tool while you work, and that staying quality is part of how it functions in a ritual setting.
That is also why the quality of the oil matters in practice, not as a luxury, but as a matter of attention. An oil made in a hurry, from synthetic scent, does not carry the same weight in the room as an oil made for this specific work, from real materials, in a small batch. You will notice the difference when you open the bottle, and you will notice it again halfway through the working, when the scent is still there and still clear.
How the Andrealphus oil is made here
I hand make all of my own perfumes, colognes and oils from only pure essential oils, roots and herbs. I do not use any extraneous ingredients or fillers. I also do not use any synthetics. Sometimes there is the odd gemstone thrown in as well.
Each batch of oil is hand made when you order, not pulled from a warehouse shelf months in advance.
That made-to-order point matters for a working like this. It means the oil has not been sitting, opened and closed, through other people's orders. It is made for your order, and then blessed by me myself before it is sent out. I make no promise about what it will do for you, only that it is made by hand, for this work, and not mass produced.
Incense to go with the oil
Oil and incense are often used together in Goetia work, and Andrealphus work is no exception. They do different jobs in the room. The oil marks and anoints. The incense fills the space and sets the atmosphere for the working itself.
The Andrealphus incense offered here is hand made in the same way: each batch is hand made when you order it, unless a batch has just recently been made. The incenses made here are of a quality that I use them myself for magical work. They work well enough that I use them successfully for spirit work, work for clients, as well as my own spellwork.
If you are doing a full working, rather than a single anointing, use both. Anoint first, with a clear purpose in mind, then light the incense and let the room settle before you speak your petition. Do not rush from lighting to speaking. Give the room a moment to change, and give yourself a moment to notice that change. If you are only anointing a seal, a drawing tool, or a book for later use, you can still use the incense to fumigate that item at the time you prepare 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, and to the instructions you already follow for Goetia work. First, prepare the room and yourself, as above, and set out the study material. Second, set out the seal, tool, or candle you will use, and the oil and incense. Third, anoint, deliberately, naming the purpose in your own words. Fourth, light the incense and let the space settle. Fifth, speak your petition, clearly and once, rather than repeating it until it loses its shape. Sixth, study, draw, or observe, with attention, for the time you set aside, rather than filling every moment with more words. Seventh, close the working properly, in whatever way your practice requires, and put the tools and the study material away in their 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. For Andrealphus work, that record should include the study itself: what you worked on, what you understood that you had not understood before, where you got stuck, and what changed in your way of working over days and weeks. That record is what lets you tell, afterwards, whether anything changed, and whether that change had anything to do with the work.
What not to do
Do not use the oil as a substitute for the study. Anointing and then doing nothing else, with no reading, no drawing, no observation, and no practice, is not Andrealphus work. It is just a room that smells different, and hands that smell of oil. The oil supports the study, it does not replace it.
Do not use the oil internally, and do not use it on broken skin. It is made for anointing and ritual use, from essential oils, roots and herbs, and it should be treated as a ritual oil, not as a food, a medicine, or a skin treatment. If you have sensitivities to essential oils, test a small amount first, or do not use it on skin at all, and anoint a tool or candle instead.
The oil is made for the work, blessed by me before sending, and sent to you to use in your own practice. What follows from that practice, in terms of magical result, is yours to observe, not mine to guarantee. That is about the work itself, not about delivery dates for physical items.
Keeping a record, and knowing when to stop
Keep a short record for each working: date, purpose in one sentence, oil and incense used, what you studied or practised, and what you noticed afterwards, over days and weeks, not just on the night itself. For geometry, note the drawings themselves, and whether they grew more accurate. For astronomy, note the observations, and whether your reckoning grew surer. For transformation, note actual changes in how you work, how you see, or how you carry yourself, with examples, rather than a general feeling that you have changed.
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.
Andrealphus oil, and Andrealphus incense to go with it
If you are doing spirit work with Andrealphus, the oil is for anointing, not for show.
I hand make Andrealphus oil myself, from pure essential oils, roots, and herbs, with no synthetics and no fillers, and I bless it myself before it is sent out. It is made in small batches, when you order, for anointing and spirit work with Andrealphus. I make no promise about what it will do for you, only that it is made by hand, for this work, and not mass produced.
If you want the oil for that work, this is the one I offer: Andrealphus Goetia grimoire demon evocation oil, $44 CAD, 1/2 oz bottle. View the product
I also make the incense to go with it, for the same work: Andrealphus Goetia incense, $44 CAD. View the product
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