Enochian ensigns of creation: altar pieces for Enochian workings

What ensigns are for on an Enochian altar

Enochian workings are workings of a system, and like any system, they have an altar order: things placed in particular positions, for particular reasons, that together make the working possible. The ensigns of creation are part of that altar order. They please and propitiate the Enochian entities, and their presence in ritual helps raise energy for any work to be done. That is a complete description of their function, and it is worth taking seriously on its own terms, rather than treating the ensigns as decoration.

Pleasing and propitiating, in this context, does not mean flattery. It means showing, by the care taken with the altar, that the working is taken seriously, and that the entities approached are approached with the respect their place in the system deserves. An altar that has been prepared carefully, with pieces made for that altar and no other, reads differently, to the practitioner first of all, from an altar thrown together at the last minute. The practitioner who has taken the time to make or obtain the proper pieces, and to place them properly, is already in a different state of attention when the working begins.

Intricacy, and why it matters in a made object

Enochian designs are intricate because the system they belong to is intricate: its tables, its names, and its diagrams are built from many small, precise parts, each of which must be in its proper place for the whole to read correctly. A piece that simplifies that intricacy away, for ease of manufacture, loses something essential, because the practitioner can no longer read the design, or check it, or learn from it by handling it. A lost wax cast piece, made by hand, can hold intricacy in a way that a printed or machine-stamped piece often cannot, because the wax itself is worked by hand before casting.

A metal piece has weight, a back and a front, and a presence on an altar that a flat image does not have. It catches light, it can be cleaned and cared for, and it lasts, which matters for pieces that are meant to serve an altar over years of workings, not for a single night. An altar piece is not a consumable. It is part of the working place itself, and it should be made to last as long as the practice it serves.

Altar display, and the discipline of place

Altar display is a discipline of place. Each piece has a position, and that position is kept, from working to working, so that the altar itself becomes familiar, and the practitioner can find their way around it without thinking, in the same way a musician finds their way around an instrument. The ensigns, displayed on the altar during Enochian workings, belong to that discipline. They are not brought out for show, and they are not left out because they are inconvenient. They are placed, used, and put away, or left in place, according to the practice the practitioner follows, consistently, so that the altar becomes a stable place for work.

That stability is part of what helps raise energy for a working, in practical terms. A practitioner who enters a familiar, properly ordered space, with the pieces in their places, does not spend the first part of the working wondering where things are, or whether something has been forgotten. Attention is free for the working itself, from the start. That is a small point, and it is the kind of small point that makes the difference between a working that settles quickly and a working that spends half its time settling. Altar discipline is not fussiness. It is the removal of avoidable distraction, so that the real work can begin.

Enochian work, and the place of the ensigns in it

Enochian work, taken as a whole, includes the making of tools, the study of tables, the calling of entities, and the travelling of the aethyres, among other things. The ensigns belong to the altar side of that work, and they should be understood in that context, not as a separate practice of their own. A practitioner who has the ensigns but has not studied the tables, or who displays the ensigns without doing the preparatory work the system requires, has the furniture of the system without its practice, and that will not serve a working. The ensigns support a practice. They do not replace it, and no honest description of them would claim otherwise.

For the same reason, a practitioner new to Enochian work should not begin with altar pieces alone. Begin with study, with the foundations of the system, with the making of the simpler tools, and with a teacher where one is available, and let the altar grow as the practice grows. The ensigns will still be there when the practice has reached the point where altar display of this kind belongs in it. That ordering, foundations first, altar pieces in their proper place later, is the same ordering that runs through all serious Enochian teaching, and it is worth following even when it means waiting.

Caring for cast altar pieces

Cast metal altar pieces need care, and that care is part of the practice, not an extra chore added to it. Keep them clean, according to the metal: silver, bronze, and copper each tarnish differently, and each should be cleaned in the way appropriate to that metal, without harsh methods that would damage fine detail. Handle them with clean, dry hands, and store them, when they are not on the altar, in a place where they will not be scratched, knocked, or mixed up with ordinary objects. A piece whose detail has been worn away by careless handling has lost part of what made it useful, and intricacy, once lost, cannot be restored by wishing.

Care also means knowing when a piece is in use and when it is not. If the ensigns are for altar display during workings, decide, as part of your practice, whether they remain on the altar between workings or are put away, and keep that decision consistent. Consistency is what turns a collection of objects into an altar, and an altar into a working place. It also means that, when a working begins, the pieces are where they are expected to be, in the condition they are expected to be in, and attention can go to the working, not to repairs and searching.

How these ensigns are made

These ensigns are lost wax cast, in silver, bronze, which looks exactly like fourteen karat gold, or copper. Lost wax casting, as described for the seal line, means the piece is actually cast, starting with a wax version, which is much higher quality than 3D printed versions made from metal powder and plastic. For intricate designs, that difference matters more than usual, because fine detail in wax, cast properly, survives into metal, while fine detail in a printed imitation often does not.

When choosing a metal, consider the altar as a whole, and the other pieces already on it, rather than choosing in isolation. Silver, bronze, and copper each have their own colour, weight, and way of catching light, and an altar reads as a whole, not as a collection of separate choices. Choose the metal that fits your altar, your practice, and your means, and then keep that choice, so that the ensigns become a stable part of the working place, rather than a piece that changes with every fashion.

Keeping a record of altar work

Keep a record of workings in which the ensigns are displayed, as you would for any Enochian working: date, purpose, system and order followed, what was done, and what was noticed afterwards, over days, not only on the night itself. Note, in particular, whether the altar order helped the working settle, whether any piece was out of place or in need of care, and whether the working felt different, in attention or in energy, from workings without that order. That kind of record, kept honestly over months, is what turns altar discipline from a theory into a practice that can be judged, adjusted, and improved.

Do not judge an altar piece by a single working, and do not credit or blame it for a single night's outcome. Altar pieces serve a practice over time, and their value shows, if it shows, in the steadiness of that practice: in workings that begin cleanly, settle quickly, and close properly, time after time. That steadiness is not dramatic, and it does not make a good story on its own, but it is the real measure of a working place, and it is what a practitioner should look for, over months, rather than in a single evening.

What the ensigns are not for

The ensigns are not for display as ornaments in an ordinary room, and they are not for impressing visitors. They are for altar display during Enochian workings, and that purpose should be respected, even when it means they are not seen by anyone except the practitioner. A working tool that becomes a showpiece has changed its character, and not for the better. Keep the ensigns for their purpose, in their place, and let them serve the workings they were made for, quietly, over years.

No guaranteed magical result is promised with these pieces, and no honest description of altar pieces would promise one. What is offered is a set of incredibly intricate, lost wax cast designs, in silver, bronze, or copper, for altar display during Enochian workings, to please and propitiate the Enochian entities, and to help raise energy for any work to be done, in the sense described above. That wording is about magical result, not about delivery dates for a physical item, and it is stated plainly here so that it is not misunderstood later.

Enochian ensigns of creation lost wax cast

Enochian ensigns of creation, lost wax cast in silver, bronze, which looks exactly like fourteen karat gold, or copper. These incredibly intricate designs are for altar display during Enochian workings. They please and propitiate the Enochian entities, and their presence in ritual helps raise energy for any work to be done. If you work the Enochian system and you want cast ensigns for your altar, these are the pieces offered here.

$432.00 CAD View the product

No guaranteed magical result is promised with this piece. That wording is about magical result, not about delivery dates for a physical item.

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