The Sigil Dei Aemeth in beeswax: a temple piece for Enochian work

A symbol at the centre of the temple

The Sigil Dei Aemeth, the Seal of God, is one of the most intricate and most mysterious symbols in the whole Enochian material. It is not a general protective sign, and it is not a decoration for an altar. It is a specific object, with a specific design, that the Enochian entities instructed Dee to create for the temple, and it belongs, in the system, at the centre of the working space, where the rest of the temple furniture is arranged around it.

That centrality is the first thing to understand about it. A temple has a centre, and the Sigil Dei Aemeth is that centre in the Enochian temple. It is the surface on which other things stand, the ground on which offerings are placed, and the figure that the practitioner returns to, again and again, in the course of a working. A practitioner who treats it as just another seal among many has missed what it is for.

Enochian work is full of pieces that only make sense together: the tables, the seals, the calls, the temple furniture, and the Sigil Dei Aemeth among them. A single piece, on its own, does not give you the whole picture, but without that piece, the picture is incomplete, and the working is missing its centre.

Why beeswax, and what it means in the hand

This Sigil Dei Aemeth is engraved in beeswax, and the material matters in a way that goes beyond appearance. Beeswax is warm, it takes engraving cleanly, and it carries a scent of its own, faint and natural, that belongs to no factory process. It is a material that has been used for sacred objects for a very long time, precisely because it is made by living creatures, and because it can be worked by hand, melted, and reworked, in a way that stone or metal cannot.

An engraved beeswax Sigil Dei is also a different kind of object from a printed one. Printing gives you the design, and that is useful for study, but engraving gives you the design cut into a material, line by line, by a hand, and that cutting is part of the making. When you hold an engraved piece, you can feel the lines under your fingers, and that tactile quality matters in temple work, where the practitioner works as much by touch and by placement as by sight.

Beeswax asks for care, and that care is part of the discipline of owning it. Keep it away from direct heat, from strong sunlight, and from places where it will be knocked or crushed. Store it flat, in a clean place, and handle it with clean hands. A beeswax temple piece that is treated as a sacred object will last and serve. One that is treated as an ornament will not, and the difference will show in the condition of the engraving over time.

How the Sigil Dei is used

It can be displayed on the table, and it can be used to place offerings on. Displayed on the table, it is the centre of the working space, visible throughout the working, and a reminder of the system in which the working stands. Used to place offerings on, it becomes the ground on which the offering rests, which is a different and more active role: the offering is not simply near the Sigil Dei, it is on it.

Those two uses, display and offering, cover a great deal of Enochian temple practice. In a working, you may begin by setting the Sigil Dei in its place, arranging the rest of the furniture around it, and then proceeding with the calls or prayers of your practice, with the Sigil Dei present throughout. At the point where an offering is made, you place it on the Sigil Dei itself, deliberately, rather than on a random surface, so that the offering is given in the centre of the temple, not at its edge.

It is not described as a pendant to be worn, or as a portable talisman to be carried. It is a temple piece, for the table, for the working space, and for offerings. Keeping it in that role, rather than turning it into something else, is part of respecting the system it comes from, and it will serve you better in that role than it would as a general-purpose object.

Preparing the table, and preparing yourself

Before you use a Sigil Dei Aemeth in a working, prepare the table itself. Clear it, clean it, and set it aside for temple work, so that it is not also the table where ordinary things accumulate. Lay the Sigil Dei in its place, and arrange around it only what belongs to the working. A crowded table, full of unrelated tools and notes, does not honour a central symbol, and it makes the working harder to follow, for you as well as for anyone else present.

Prepare yourself in the same way. Enochian work, in the Dee and Kelly tradition, is work of prayer, discipline, and careful record-keeping, not work of casual curiosity. Bathe or wash, change into clothes set aside for temple work, and give yourself time to settle before you begin. Know what you are going to do, in what order, and what you are going to say, in the forms you have been taught, rather than improvising the whole working on the spot.

Study the Sigil Dei itself before you use it. Its design is intricate, and that intricacy is not decoration. Spend time tracing its lines with your eye, learning its parts, and reading the material you already follow for the Enochian system, so that when you lay offerings on it, or display it on the table, you know what you are displaying, and why it stands at the centre. A symbol used without study is a picture. A symbol used with study is a temple piece.

Keeping a record, and keeping the piece

After a working with the Sigil Dei, write down what you did, when you did it, what offerings were placed, and what you noticed afterwards, over days and weeks, not only on the night itself. Enochian work is long work, and a record is what turns a series of separate workings into a practice you can learn from. Note the condition of the beeswax piece as well, so that you notice any change in it early, and can care for it before damage becomes serious.

Do not treat the Sigil Dei as a shortcut, and do not repeat the same working endlessly in the hope that repetition alone will force a result. Do the work properly, once, with a clear purpose, 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, and it teaches you nothing about the system or about your own practice.

Keep the piece itself in good order between workings. Store it flat, clean, and apart from ordinary objects, and inspect the engraving before a working, so that you are not discovering damage in the middle of a rite. Care of the temple piece is part of care of the temple, and a practitioner who cares for the centre of the temple is practising care for the whole working.

The Sigil Dei among the temple furniture

The Sigil Dei does not stand alone in the Enochian temple, and understanding its neighbours helps you understand the Sigil Dei itself. The temple, in the Dee and Kelly material, is a furnished place, with tables, seals, and objects each in its own place, and each with its own function, and the Sigil Dei is the centre around which the rest is arranged. A practitioner who sets a Sigil Dei on a bare table, with nothing else, has the centre without the temple, and a practitioner who crowds the table with unrelated objects has the temple without a centre. Both miss the arrangement the system intends.

Arrange the table, therefore, with intention, following the material you already follow for the Enochian temple. Place the Sigil Dei where it belongs, in the centre of the working space, and arrange the other furniture around it, in the order your practice prescribes, rather than in an order invented for convenience.

That arrangement, once learned, becomes a discipline in itself. Setting the table, in the same order, each time, before a working, is a way of preparing yourself as well as the room, because the hands learn the order before the mind has finished thinking about it, and the table, set correctly, tells you that you are ready to begin. Putting the furniture away, in the same order, after a working, is the same discipline in reverse: a closing, a return to ordinary life, and a care for the tools that will be used again. The Sigil Dei, at the centre, is the anchor of both movements, setting out and putting away, and that anchoring is part of why it is called a vital piece of the puzzle.

A final word on the centre: a temple piece at the centre of a table changes how the rest of the table is used, because everything else is now arranged in relation to it. Let the Sigil Dei do that work for you. Arrange around it, offer upon it, and return to it, working after working, until its place on the table feels as settled as the table itself. A centre that is returned to, regularly and with care, becomes a place of orientation, not only for a single working, but for a whole practice, and that orientation is what a temple piece is for.

The Sigil Dei Aemeth in beeswax, offered here

I offer this intricate, mysterious symbol, one of the many items the Enochian entities instructed Dee to create for the temple. It can be displayed on the table, used to place offerings on, and it is a vital piece of the Enochian puzzle.

This is the one I offer: Enochian Sigil Dei Aemeth engraved in beeswax, $324 CAD. View the product

I make no promise about what working with this piece will do for you, only that it is engraved in beeswax, for Enochian temple work. That wording is about the magical result, not about delivery dates for a physical item.

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