Working with Glasya-Labolas: arts, hidden knowledge, and a seal made to be carried
A seal is not a picture of a seal
A seal for Glasya-Labolas 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 Glasya-Labolas, 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. 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.
Glasya-Labolas, and two kinds of knowing
In the Grimoire Companion material, Glasya-Labolas is a President with 36 legions, who teaches all arts and sciences, knows past and future, and grants invisibility. That field joins two kinds of knowing that are often confused: knowing a subject, and knowing what is hidden. The first is learned by study. The second is learned by attention, by noticing what is actually there, rather than what you expect to be there.
Teaching all arts and sciences, in this material, points to skilled disciplines that take time, practice, and judgement. Knowing past and future points to divination, in which the practitioner asks about what has happened, or what may come, and must be steady enough to hear an answer that may not be welcome. A working that mixes those two grounds without saying which one it is about will be hard to read afterwards, because you will not know whether you were asking to learn, or asking to be told.
Invisibility, in the same material, should be read in the traditional sense, as a working about being unseen, unnoticed, or passed over, rather than as a claim about literal disappearance. A practitioner who asks for invisibility is usually asking for a quieter passage through a situation, for attention to fall elsewhere, or for a working to be done without drawing notice. That is a practical aim, and it is best stated in those practical terms, rather than in spectacular ones.
Glasya-Labolas is also named, in the Grand Grimoire material in the same research files, as Glassyalabolas, a subordinate under Nebiros. That cross-reference is worth noting, because it shows the name appearing in more than one grimoire tradition, under a variant spelling, but this article stays with the Goetia field given above, and does not borrow offices from the Grand Grimoire hierarchy for a Goetia seal.
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. A seal that is already listed takes about 2 to 3 weeks while seals that are not listed, but are under the other option, take 8 weeks, because she still has not carved their waxes yet.
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
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 Glasya-Labolas, what subject you are studying or what question you are asking, and what you are prepared to do yourself, in ordinary study and checking, once an answer is given. 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.
For Glasya-Labolas work, it helps to write down, before the working, what you already know about the matter, what you do not know, and what you suspect but cannot yet show. Keep those three lists separate. Suspicions written down as facts are the most common source of false divination, because once a suspicion is written as if it were known, every later sign gets read as confirming it. Keep suspicion in its own column, and let the working speak to the unknown column, not to the suspicion column.
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 for this purpose, bathe or wash, change into clothes you do not wear for ordinary errands, and know what you are going to say, in your own words, before you begin. A clear head is a working tool, just as much as a seal, oil, or incense is.
Carrying, 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.
Working with a seal, in the general terms given for seal articles, includes holding it, placing it under a candle, putting oil on it, carrying it with you, wearing it as a pendant, and showing it to the desired person, as your practice calls for. Each of those uses is a different way of bringing the seal into the working. Holding it suits a quiet, focused working. Placing it under a candle suits a working that runs over time. Putting oil on it marks it deliberately for a purpose. Carrying it keeps the working present through the day.
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. Glasya-Labolas also has a matching incense and a matching bath, each at $44 CAD, for spirit work and spellwork with Glasya-Labolas. This article is about the seal, so it does not turn into a second article about incense or baths, but it is worth knowing those companions exist, because a seal that is anointed or fumigated as part of a working, and a practitioner who has bathed in preparation, are being prepared deliberately, rather than only wearing jewellery.
Do not use a seal as a substitute for the rest of the working. Carrying a seal and then doing nothing else, with no petition, no attention, and no closing, is not spirit work. The seal 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 seal, and any oil, incense, or candle you will use. Third, anoint or fumigate the seal, 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. For Glasya-Labolas work, that record should include the question as written, the answer as received, and, later, what turned out to be true, together with the study that followed, if the working was about learning a subject. That later note is the important one. A divination record without a follow-up note is only half a record.
Care for a cast pendant
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. Clean it gently, with a soft cloth, and do not use harsh chemicals or abrasive cleaners on it, 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. 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, seal 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 petition 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, and in divination work it is worse than noise, because each repetition gives you another chance to hear what you want to hear.
Glasya Labolas cast seal pendant, 2 inches
A seal for Glasya-Labolas 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 Glasya Labolas, as a pendant, 2 inches, made for traditional Goetia work with Glasya Labolas, 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 Glasya Labolas seal made in this way, this is the one I offer: Glasya Labolas cast Daemon Demon seal pendant, 2 inches, $216 CAD. View the product
Matching Glasya Labolas incense and Glasya Labolas bath are also, each $44 CAD.
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