Working with Fleurety: a Grand Grimoire chief, and a cast seal

A chief in a hierarchy, not a lone spirit

Fleurety, also written Fleruty in the Grimoire Companion material, is best understood first as a position in a hierarchy, rather than as a lone spirit with a single simple office. The Companion notes that Fleruty is one of the six subordinate dukes of the first book of the Grimoirium Verum, and that he is one of Beelzebuth's two subordinates, alongside Tarchimache. The same material notes that five of those six subordinate dukes are the same figures as five of the Grand Grimoire's six chiefs. That is why Fleurety appears in both traditions, and why a seal titled for the Grand Grimoire and a seal titled for the Verum can point to the same figure through different systems.

That double belonging is important, because it means the practitioner must know which system they are working in before they take up the seal. A Verum working and a Grand Grimoire working are not interchangeable, even when they name the same spirit. They have different preparations, different orders of approach, and different expectations about how a chief is addressed. A general article can describe the hierarchy and the seal, but it cannot choose the system for you, and it should not blur the two systems into one generic working. If you are not already studying one of those systems, study it first, with a teacher where one is available, before working with a chief of this rank.

What the sources do, and do not, say about Fleurety

Honesty about sources matters more with Fleurety than with many spirits, because the Companion material is explicit that the Verum text gives the seals and positions of the six subordinate dukes, but no detailed individual offices for them, and that their fuller offices come from the Grand Grimoire tradition.

That restraint is not a gap to be filled by guessing. A practitioner who wants to work with Fleurety should turn to the Grand Grimoire tradition itself, and to the teaching they already follow in it, to learn the office and the approach that tradition gives, and should record what they find in their own notes, with its source named. An article that invented an office would do real harm, because it would send practitioners into a working with a purpose the tradition never gave, and they would have no way of knowing, from the article, that the purpose was invented.

Working with a chief, in general terms

What can be said generally, without inventing an office, is about the manner of working with a chief. A chief is approached with more preparation, not less, than a lesser spirit, and with a clearer petition, not a vaguer one. That means knowing the system, having done its preliminary work, being able to state the matter in one clear sentence, and knowing the limits of what will be asked and what will be offered. It means a clean working space, set aside for the purpose, and a proper closing, with the tools put away in their proper place afterwards. Those are general disciplines of grimoire work, and they apply with particular force to a chief, because the working is larger, and its consequences, whatever they are, will be larger too.

It also means, in practical terms, not beginning a working with a chief as a first experiment, and not beginning it in anger, exhaustion, or desperation, if that can be avoided. A clear head is a working tool, and with a spirit of this rank, a muddled head is the worst possible starting point. 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. Ritual work does not replace a lawyer, a doctor, or leaving a dangerous situation, and it should never be used as a reason to delay those steps.

The seal as a focus, and the hierarchy as a map

A cast seal of a chief serves, in the first place, as a focus: a made object, in metal, that holds the attention of the working on one figure, in one system, for one purpose. That focus matters because grimoire hierarchies are large, and it is easy, in reading about them, to blur one figure into another, or to carry an office from one system into another where it does not belong. The seal, held or worn, is a reminder to stay with the figure and the system actually being worked, and to check, when doubt arises, against the source that system names, rather than against a general impression picked up from reading around the subject.

The hierarchy itself is also a map, and it is worth studying as a map before any working is attempted. Know where Fleurety stands: under Beelzebuth, among the subordinate dukes, and among the Grand Grimoire chiefs. Know who stands above and below, and what that standing implies about the order of approach in the system you are following. A practitioner who knows the map will not mistake a chief for a servant, or a subordinate duke for a superior, and will not approach a working backwards. That knowledge is not glamorous, and it is not the part of the work people ask about first, but it is the part that keeps the work orderly, and orderly work is safer work.

How a cast seal is worked with

None of these is a showpiece gesture. Holding a seal during a working keeps your attention on the petition instead of letting it drift. Putting it under a candle gives the working a fixed centre and a fixed time. Putting oil on it marks it for that working and no other. Carrying it or wearing it as a pendant keeps the work close through an ordinary day, when the decisions that matter are usually made. Showing it to the desired person is a direct, old-fashioned use, and it should only be done where it is honest and appropriate to do so in the situation itself.

For a chief, the simplest uses are often the soundest. A seal held during the working, or placed under a candle for the duration of the petition, keeps the work anchored to a single object and a single purpose. A seal worn as a pendant keeps the working in mind through ordinary days, when the decisions that matter are usually made. In each case, the seal is a focus and a reminder, not a machine that does the working on its own. The working is still yours: the words, the petition, the attention, and the follow-through afterwards, all within the system you are actually following.

How this seal is made

These seals are lost wax cast seals of the daemons of the various grimoires. They are pure metal, actually cast, starting with a wax version, which is much higher quality than the 3D printed versions made from metal powder and plastic that are found around the internet. They are pictured as just discs here, and you can get them like this if you prefer, but a bail is either cast onto them or soldered on, depending on the metal used, so you can use the seal as a pendant.

This piece is a one inch cast seal, in the metals named for this line: copper, bronze, steel, gold, silver, and brass. The made-to-order time noted for this line is approximately two to three weeks, or eight weeks for pieces under the other option.

Keeping a record, and knowing when to stop

Keep a short record for each working: the date, the system followed, the purpose in one sentence, what was done, and what was noticed afterwards, over days and weeks, not only on the night itself. With a chief, the record should also name the source from which the office and the approach were taken, so that a later reading of the record can tell what came from tradition and what came from the practitioner's own judgement. That distinction is easy to lose over time, and losing it is how invented offices enter a practice unnoticed. Write the source down, every time, and keep it with the record.

Do not repeat the same working endlessly in the hope that repetition alone will force a result. Do the work properly, once, within the system you are following, 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 with a working of this rank, noise is the last thing you want around a petition that should have been clear from the start.

When this is not the right work

Sometimes the right answer is not a working with a chief at all, but study, or a smaller working, or ordinary-world action. If you do not yet know Fleurety's office from a named source in the tradition you follow, the next step is study, not a working. If the matter is small, a smaller working, or no working, may serve it better. If the matter is urgent in the ordinary world, deal with it there first. There is no failure in any of those answers. They are the judgements a system expects its practitioners to make, and making them well is part of the practice, not a delay in it.

What follows from a working with a chief, in terms of magical result, is yours to observe, not anyone else's to guarantee. That wording is about magical result, not about delivery dates for a physical item, and it applies to every piece in this line. A cast seal, made by hand in metal, for a purpose that has been thought through beforehand and sourced properly, is the honest form of this work. Anything less, including an invented office dressed up as tradition, is not.

Fleurety Grand Grimoire cast seal one inch

A one inch cast seal of Fleurety, for traditional Grimoire work. The metals named for this line are copper, bronze, steel, gold, silver, and brass, and the made-to-order time noted for this line is approximately two to three weeks, or eight weeks for pieces under the other option.

$324.00 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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