Baron Samedhi cross veve pendant: a cast veve made to be worn

A veve worn as a pendant is a different thing than a veve drawn for a single rite

A veve is a drawn emblem, made for a working, and it is usually temporary: drawn, worked with, and then gone. A veve cast in metal and worn as a pendant is a different kind of object, and the difference changes how you work with it. It does not disappear after one rite. It stays, it is carried, it is worn against the body, and it gathers the history of the workings it is carried through.

That staying quality is the point of a pendant like this one. The Baron Samedhi cross veve pendant is a cast veve, in sterling silver, made to be worn. It is not a drawing to look at, and it is not a picture of a veve. It is the emblem itself, in solid metal, with a bail so it can be hung and worn as a pendant, and it is meant to be carried as a working tool over time, not kept in a drawer as decoration.

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 you will carry, or whether you want an image 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.

What a cross veve is, in plain terms

A cross veve is a veve in the form of a cross. The cross is the emblem's structure: the figure itself, cast in metal, rather than drawn in powder or flour on the ground. Worn as a pendant, it sits where a pendant sits, against the chest, visible or under clothing according to your practice and your situation.

It presents the pendant as a lost wax cast piece, in sterling silver, made to be worn. What it is for, in your practice, is a matter for the system you work in and the teaching you already follow. A general article like this one is not a substitute for proper teaching, and it should not be used to invent a rite, a prayer, or a set of offerings for a veve you have not been taught to work with.

That restraint is part of working properly with an emblem that belongs to a living tradition. If you work in that tradition, you will know what this veve is for in your practice, and this pendant is a tool for that practice. If you do not work in that tradition, be honest with yourself about that, and about whether a veve pendant is the right tool for the work you actually do, rather than an attractive object you are reaching for without a practice to put it in.

How a lost-wax cast pendant is made

The pendants offered here are lost wax cast pieces. They are pure metal which is actually cast, starting with a wax version.

In lost-wax casting, the piece 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 pendant has weight, it has a surface that shows the hand work, and it does not have the layered texture of a printed object.

This pendant is cast in sterling silver, as the title states. Sterling silver is a working metal for a pendant that will be worn against the skin: it is solid, it takes a clean cast, and it shows wear honestly over time. That wear is normal for a working tool, and it is not a sign that the pendant has stopped being what it is. It is a sign that it has been carried.

For this sterling silver pendant, the bail is what lets the piece hang and be worn, and it is worth knowing how it is attached before you order, because it affects how the pendant hangs and how it will wear over time.

Made to order, and why that takes time

A cast pendant is made to order, and that takes time. A piece that is already listed takes about 2 to 3 weeks while pieces that are not listed, but are under the other option, take 8 weeks, because she still has not carved their waxes yet. This is a listed pendant, so the shorter timing applies to it in principle.

That made-to-order point matters for a working tool. It means the pendant has not been sitting, handled and put back, through other people's orders. It is cast for your order, and then blessed by Athena herself before it is sent out. No promise about what it will do for you is made here, only that it is cast by hand, for this work, and not mass produced.

Preparing to work with a veve pendant

Preparation is most of the work, and with a pendant that preparation starts before the pendant arrives. Be clear about why you want this veve, and what practice you will use it in. When the pendant 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.

Prepare the room and yourself in the same way you would for any serious 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 do, in your own practice, before you begin. A clear head is a working tool, just as much as a pendant, oil, or incense is.

Holding, anointing, and carrying the pendant

There are several ways to work with a pendant, and they are worth knowing separately. Holding the pendant in your hand during a working is the simplest: you are keeping the emblem present, in contact, while you work. Putting the pendant under a candle during a working is another: the piece sits beneath the light, set aside for the purpose, while the candle burns above it.

Putting oil on the pendant is a way of marking it for a purpose, done deliberately, naming the purpose in your own words, if your practice calls for anointing. Passing it through incense smoke is the companion practice: fumigating the tool at the start of a working, and for the tools that will be used in it. Both are general practices for working tools on this site, and both can be used with a pendant, if your practice calls for them.

Carrying the pendant is part of the work, and wearing it as a pendant, hung from its bail, is the form carrying takes here. Wear it when you are working, and put it away properly when you are not, rather than leaving it loose with keys and 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 pendant as a substitute for the rest of the working. Wearing a pendant and then doing nothing else, with no attention, no practice, and no closing, is not the work. The pendant 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, as above. Second, set out the pendant, and any oil, incense, or candle you will use. Third, anoint or fumigate the pendant, if your practice calls for it, deliberately, or place it under the candle for the working. Fourth, do the working itself, in the way your practice requires, clearly and once, rather than repeating it until it loses its shape. Fifth, sit quietly for a time afterwards, rather than filling every moment with more words. Sixth, close properly, in whatever way your practice requires, and put the pendant 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 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.

Care for a sterling silver pendant

Care for a sterling silver pendant is practical. Sterling silver tarnishes with wear and with air, and it will show scratches over time, especially if it is worn every day, against skin, against clothing, and against other objects. That is normal for a working tool. 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.

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.

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 purpose 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.

Baron Samedhi cross veve pendant, in sterling silver

A veve pendant should be a veve, not a picture of one, and it should be made to be worn.

I make these as lost wax cast pieces, 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 the Baron Samedhi cross veve, as a pendant, in sterling silver, with a bail so it can be hung and worn, made to be carried 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.

If you want a veve pendant made in this way, this is the one I offer: Cast Baron Samedhi cross veve pendant, in Sterling Silver, $216 CAD. View the product

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