Working with a Bagenol Enochian angel seal pendant

A seal, not a picture of a seal

A seal pendant for Bagenol, an Enochian Angel, should be a seal, not a picture of one. That distinction sounds simple, and it is, but it changes how you work with the thing in your hands. A picture can be looked at. A seal can be carried, held, anointed, fumigated, placed on an altar, and worked with over time. It has weight, it has a surface you can touch, and it stays with you after the working is over, in a way a printed image does not.

That is why the form of a seal matters, and why a seal that is made properly is different from a seal that is merely reproduced. The seal in this article is a cast seal pendant, 1 inch, for Bagenol. It is made to be carried and worked with, not left in a drawer as decoration, and not filed away as a reference image.

If you are new to this kind of work, it is worth asking yourself, before you order anything, whether you actually want a working tool, or whether you want a picture to look at. Both have their place, but they are not the same thing, and ordering one when you meant the other leads to disappointment that has nothing to do with the quality of the object.

An Enochian angel seal also carries a second distinction, and it is worth naming it plainly. Enochian work is a system, with its own tables, calls, and forms, and a seal from that system belongs inside that system. A general article like this one can talk about how a seal pendant is carried and worked with, in general terms. It cannot replace the teaching of the system itself, and it should not be used to invent a rite for an angel seal you have not been taught to work with. Use this article for the practical handling of the pendant, and keep your system teaching alongside it, where the two belong.

Being specific about the working

Before any working with a named angel seal, be specific about what the working is for, in your own words, and in one clear sentence. Reflection about being specific about what you want is not a formality. It is how you tell, afterwards, whether anything changed, and whether that change had anything to do with the work.

Write the sentence down. Name the matter, as concretely as your practice allows, and name what you will do yourself, in ordinary terms, to meet that matter halfway. A petition that asks for help in general, while naming no matter and no ordinary action, is not a petition. It is a wish, and wishes are hard to read afterwards, because any outcome, or no outcome, can be fitted to them.

If you cannot state the matter in one sentence, leave it overnight and come back to it. That pause is part of the work, not a delay in it. It is also a useful test of whether the working is really needed, or whether the matter would be better dealt with in the ordinary world first, or at the same time.

Angel work, in particular, repays that pause. A working addressed to a named angel is a formal act, and formal acts deserve a clear matter, a clear petition, and a clear closing. A hurried petition, spoken because a pendant has just arrived in the post, is not a formal act. It is excitement, and excitement passes, while the record of a working remains.

When the pendant arrives

When the pendant arrives, do not start by wearing it everywhere at once. Take time to look at it, to hold it in your hand, and to set it aside in a clean place that is used for your working tools. Learn its weight, its size, and its surface, so that it becomes familiar before it is ever worn into a working.

One inch is a small, practical size for a pendant. It can be worn without drawing attention, carried in a pocket or a pouch when wearing is not suitable, and set out on an altar without taking up the whole working space. That practicality is part of its value. A tool that can be carried quietly, every day, is a tool that can be worked with steadily, rather than only on special occasions.

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. Set the pendant aside, in its proper place, until you have the teaching, or the instruction, you need for that step.

Working with a seal pendant: holding, anointing, and carrying

Holding the seal is itself a practice. Hold it, turn it in your hand, and learn it by touch, so that it becomes familiar before it is ever used in a formal working. A seal that is only ever seen, and never held, remains an image. A seal that is held becomes a tool.

Putting the seal under a candle, in the course of a working, is another way of working with it. The pendant is set in place, under light, for the duration of the working, and then put away properly afterwards, rather than left lying about. That setting-in-place marks the working as set apart, and the putting-away marks its close.

Putting oil on a seal is a way of marking it for a purpose. In practice, oil is applied deliberately, naming the purpose in your own words, and a matching oil, where one exists for the same work, is the natural companion for that anointing. Do not use oil internally, and do not use it on broken skin. Ritual oil is made for anointing and ritual use, not as a food, a medicine, or a skin treatment.

Carrying the seal, and wearing it as a pendant, are the everyday forms of this work. 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.

Showing a seal to a desired person is another form named in Athena's seal-working guidance, and it belongs to workings where a person is directly concerned. Use that form only where it fits the working you have actually planned, and where your practice calls for it, not casually, and not as a display.

Fumigating a seal, by passing it through incense smoke, is the companion practice to anointing: to start a working, and for fumigating the tools and talismans that will be used in it.

Preparation for a working

Preparation is most of the work, and with a seal pendant that preparation starts before the pendant is ever taken out of its place. Be clear about why you are working, 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.

Prepare the room and yourself in the same way you would for any formal 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.

Set out what you need before you start, so you are not hunting for tools halfway through. A working interrupted by hunting is a working whose attention has been broken, and attention, once broken, is hard to gather again in the same sitting.

Do not begin a working when you are exhausted, drunk, or already agitated, if you can avoid it. Wait until you can state the matter calmly, even if the matter itself is serious. A formal working done in the heat of a feeling often reads, afterwards, as something you wish you had phrased differently.

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, and have your one-sentence matter written down. Second, set out the pendant, and any oil, incense, or candle you will use. Third, hold the pendant, and anoint or fumigate it 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 wear it onward as the working requires.

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

Ordinary work, alongside ritual work

Sometimes the right answer is not a spirit working alone. If the matter 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. If you are unsure whether a working is appropriate, wait, ask a teacher you trust, or choose a simpler practice first and see how that sits.

That point applies to angel work as much as to any other kind. A formal working and an ordinary action should point the same way, or neither will carry much weight. A petition for help with a matter, while the practitioner does nothing in the ordinary world about that matter, is working against itself, and a record that shows that contradiction, honestly, is a useful record, even if it is an uncomfortable one.

Care for a cast pendant

Care for a cast pendant is practical, not mystical, and it is worth stating plainly. A cast object 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 pendant, its bail, or its chain loosens, or 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, pendant 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.

A seal pendant is meant to be worked with steadily, over time, and judged by a record kept steadily, over time. That steadiness, more than any single working, is what makes a tool into a working tool, and a practice into a practice.

Bagenol Enochian Angel cast seal pendant, 1 inch

A seal for Bagenol should be a seal, not a picture of one.

This one is Bagenol, an Enochian Angel, as a cast seal pendant, 1 inch, made to be held, anointed, carried, and worn as a pendant, and worked with in your own Enochian practice. I make no promise about what it will do for you, only that it is made as a working seal, for this work.

If you want a Bagenol seal made in this way, this is the one I offer: Bagenol Enochian Angel cast seal pendant 1 inch, $108 CAD. View the product

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