Eligos cast Daemon Demon seal pendant 2 inches
Eligos, in the old books
Eligos, also called Abigor or Eligor, is the fifteenth spirit listed in the Ars Goetia, a Great Duke, over 60 legions. The old books say he appeareth in the form of a goodly knight, carrying a lance, an ensign, and a serpent. He discovereth hidden things, and knoweth things to come; and of wars, and how the soldiers will or shall meet. He causeth the love of lords and great persons.
That entry has a military shape, and it is worth reading it as such, rather than softening it into a general promise of knowledge. Hidden things, things to come, wars, and how soldiers shall meet: those are matters of strategy, of what is not yet seen, and of how opposing sides will act. The love of lords and great persons sits alongside that strategy, as the favour of those in authority, in a world where authority and warfare were close together. A modern Eligos working, on the text's own terms, is often a working about a hidden matter, a coming matter, or a matter where favour and standing are at stake. Be clear about which one you mean.
A seal is not a picture of a seal
A seal for Eligos 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, 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 in traditional Goetia work, and why a seal that is made properly is different from a seal that is merely reproduced. The seal in this article is for traditional Goetia work with Eligos, as a hand cast seal, in pendant form, 2 inches. 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.
How a lost-wax cast seal is made
The seals offered here 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. 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 seal 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 seal is made to order, and why it takes time. That is a practical detail, and it is worth knowing before you order, because it affects how the pendant hangs and how it will wear over time.
Preparing to work with a seal, and with a hidden matter
Preparation is most of the work, and with a seal that preparation starts before the seal arrives. Be clear about why you are working with Eligos, what hidden thing you are asking about, and what coming matter, if any, that hidden thing touches. 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. A question 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.
When the seal 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. Prepare the room and yourself in the same way you would for any Goetia working: clear the space, set it aside, wash, change into clothes you do not wear for ordinary errands, and know what you are going to say before you begin.
Carrying, holding, anointing, and fumigating
A pendant seal is made to be carried, and carrying 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 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. Holding the seal in your hand is also a way of working with it: the figure is present, under your fingers, while you speak and listen, rather than only in front of your eyes.
Anointing a seal is a way of marking it for a purpose. In practice, that is often done with a matching oil, applied deliberately, naming the purpose in your own words. 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. A seal can also be placed under a candle on the working surface, or shown to the desired person in workings where that is part of your practice, though whether that is appropriate depends entirely on the working, and it is not a step to add casually.
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 settle the hidden matter into one clear sentence. Second, set out the seal, and any oil, incense, or candle you will use. Third, hold the seal, 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 seal 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. Note the seal 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. Note the hidden matter, too, and what came to light, in the form it actually took, not in the form you wished it had taken. That honesty in the record is what lets you tell, weeks later, whether anything changed.
Hidden things, and ordinary-world work
A hidden thing, in a modern working, is often a matter that also needs ordinary-world work: a document to read, a conversation to have, a record to check, or a person in authority to approach in the ordinary way. Ritual work is not a substitute for dealing with such a matter in the ordinary world. 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. A seal working that is used to avoid a difficult conversation, or a necessary check, is not doing the work you actually need done.
It is also worth asking, honestly, whether the hidden thing you are asking about is a thing you have a right and a reason to know, in the ordinary sense, or whether it is someone else's private matter. That question is not a lecture. It is a practical check, because a working aimed at a matter that is not yours to know will not do the work you actually need done, and it will leave a record that is hard to read afterwards. Be specific about what you want to know, and why, before you begin.
Care for a cast pendant, and knowing when to stop
Care for a cast metal pendant is practical, not mystical, and it is worth stating plainly. Pure cast metal 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, and clean it gently, with a soft cloth, without harsh chemicals or abrasive cleaners unless you know, for the specific metal involved, that such a cleaner is safe.
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. 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.
Eligos cast seal pendant, 2 inches
A seal for Eligos should be a seal, not a picture of one.
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 Eligos, as a pendant, 2 inches, made for traditional Goetia work with Eligos, 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. That wording is about the magical result itself, not about delivery dates for physical items.
If you want an Eligos seal made in this way, this is the one I offer: Eligos cast Daemon Demon seal pendant 2 inches, $216 CAD. View the product
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