Working with Bune: riches, eloquence, wisdom, and true answers

A ring is a seal you wear into the room

A seal ring for Bune should be a working seal, not a picture of one, and not only a piece of jewellery. That distinction changes how you work with the thing in your hands. A picture can be looked at. A ring seal can be worn into the room where the work happens, held, anointed, fumigated, and carried afterwards, in a way a printed image cannot. It has weight, it has a surface you can touch, and it stays with you after the working is over.

The ring in this article is for traditional Goetia work with Bune, as a hand cast seal ring. It is made to be worn 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.

Bune, and what working with him is for

In the Grimoire Companion material, Bune is a Duke whose office is described in plain terms: he brings riches, makes one eloquent and wise, and answers truly of past, present, and future. That is a distinctive combination, and it is worth reading carefully. Riches on their own, without eloquence and wisdom, are hard to hold. Eloquence without true answers is only fluency. Bune's office, as given here, joins the three: means, the ability to speak well, and answers that can be trusted about what has been, what is, and what is to come.

That joining is the reason to be specific about your purpose before you work with Bune. Are you seeking help with a matter of money, with speaking clearly and persuasively where it counts, with wisdom in a decision, or with true knowledge of a situation's past and future? A petition that names one of those plainly will give you a clearer record afterwards than a general wish for good fortune. Being specific about what you want is part of doing the work properly.

How a lost-wax cast seal 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.

That process also explains why a cast seal is made to order, and why it takes time. A seal that is already listed takes about two to three weeks while seals that are not listed, but are under the other option, take eight weeks, because she still has not carved their waxes yet.

A ring, by contrast, is made to be worn on the hand, which changes how it is carried: it is present when you gesture, when you write, and when you speak, which suits a spirit whose office includes eloquence.

Preparing to work with a seal ring

Preparation is most of the work, and with a seal ring that preparation starts before the ring arrives. Be clear about why you are working with Bune, 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 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. 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.

Wearing, anointing, and fumigating

A seal ring is made to be worn, and wearing 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 where it can be scratched or lost. Hold it in your hand when you are preparing a working, put it under a candle if your practice calls for that, and put oil on it deliberately, naming the purpose in your own words. Showing it to the desired person, where a working calls for that, is another traditional way a seal is used, specific to the purpose rather than as a display.

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. Bune also has a matching incense and a matching oil, both at $44 CAD, for spirit work and spellwork with Bune, made in small batches when you order. This article is about the ring, so it does not turn into a second article about oil or incense, but it is worth knowing that those companions exist, because a ring that is never anointed or fumigated, and is only worn as jewellery, is not being worked with in the same way as a ring that is prepared for a working and then worn.

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. Second, set out the ring, and any oil, incense, or candle you will use. Third, anoint or fumigate the ring, 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 ring 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. 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 ring 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 wore it compared with days when you did not.

Care for a cast ring, and knowing when to stop

Keep the ring 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. Pure cast metal will show wear over time, especially if it is worn every day. That wear is normal for a working tool.

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.

Bune Goetia cast seal ring

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 Bune, as a cast seal ring, made for traditional Goetia work with Bune, to be worn 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. This is the one I offer: Bune Goetia cast seal ring,

$216.00 CAD. View the product

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