Working with Gremory: a cast seal pendant, made to be carried
Gremory, and what working with her is for
Gremory is a Duke in the Goetia, and the Grimoire Companion entry for her gives three things together: she discovers hidden treasures, she tells past, present, and future, and she procures love. That is a broad entry, and it needs to be read carefully, because a broad entry is easy to misuse. Hidden treasures, divination, and love are not one petition. They are three different kinds of work, and a practitioner who mixes them into a single vague request will get a working that is hard to read afterwards.
Hidden treasures can mean a literal lost or hidden thing of value, and it can also mean a value in a situation that is not obvious at first glance: an opportunity, a resource, or a strength that has been overlooked. Telling past, present, and future is divination work, and it asks for a true answer, not a comforting one, about what has happened, what is happening, and what is coming. Procuring love is love work, and it should be approached with the same specificity as any other petition: what kind of love, between whom, and for what purpose, stated plainly rather than left vague.
Before you do anything else, choose which of those you are actually asking about. One sentence, naming the treasure, the question, or the love you mean. If you cannot write it in one sentence, you do not yet know what you are asking, and a seal, however well made, will not clarify a petition you have not clarified yourself. Write it down, leave it overnight, and come back to see if it still reads true.
A seal is not a picture of a seal
A seal for Gremory 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, worn, 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.
A pendant is a particular form of seal, and it suits ongoing work in a way a disc on an altar does not always suit it. A pendant is worn, against the body, and carried through the day, not only brought out for a single working. For a spirit whose work includes discovering what is hidden, and telling past, present, and future, that ongoing carrying has a logic to it: the seal is present while life unfolds, not only while a rite is being performed. That is also why a pendant should be treated as a working tool, not as jewellery that happens to carry a seal design. Wear it when you are working, and in the course of the work it belongs to, put it away properly when you are not, and do not let it become an ornament you forget you are wearing.
If you are new to this kind of work, ask 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.
How a lost-wax cast seal pendant 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. This pendant is 2 inches, a size that can be worn and carried without being so small that the seal cannot be read, or so large that it cannot be worn comfortably for daily work.
That process also explains why a cast seal is made to order, and why it takes time. Gremory is a listed seal, so the shorter timing applies to it in principle. Timing can change with the work queue, but the reason for the wait is the same in either case: the wax has to be carved, and the metal has to be cast, by hand.
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 pendant
Preparation is most of the work, and with a seal pendant that preparation starts before the pendant arrives. Be clear about why you are working with Gremory, which part of her domain you are asking about, and what you are prepared to do yourself, including the ordinary-world work that follows a divination or a discovery. 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.
When the pendant 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 seal
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.
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. Gremory also has a matching incense and a matching oil, both for spirit work and spellwork with Gremory, and either can be used to prepare the pendant for a working.
Other ways of working with a seal, in the general guidance for seal articles, include holding it, putting it under a candle, putting oil on it, carrying it with you, wearing it as a pendant, and showing it to your desired person. For this pendant, the wearing and carrying are already built into the form. Holding it in the hand, and placing it under a candle for a working, are also straightforward uses, if your practice calls for them. Showing a seal to a desired person is a use named in that guidance for love work, and it belongs, if it belongs at all, to the love part of Gremory's domain, not to a divination or treasure working. Use the form that fits the petition you actually made, and do not force a love use onto a divination working, or a divination use onto a love working, when the petition itself already tells you which one you mean.
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 pendant, and any oil, incense, or candle you will use. Third, anoint or fumigate the pendant, 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 pendant away in its proper place, or keep wearing it for the work, as your practice directs.
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. That record is what lets you tell, weeks later, whether anything changed, and whether that change had anything to do with the work. Note the pendant 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. For a divination working, note the answer as you heard it, on the night, before you have had time to reshape it to fit what happened later.
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. Check the bail from time to time, especially if the pendant is worn daily. 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 pendant you are worried about losing is a pendant you cannot focus with.
If the situation 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 is not a substitute for a lawyer, a doctor, or for leaving a dangerous situation.
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.
Gremory cast seal pendant, 2 inches
A seal for Gremory should be a seal, not a picture of one, and a pendant should be carried for the work it is made for.
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 Gremory, as a pendant, 2 inches, made for traditional Goetia work with Gremory, for the work in her domain: discovering hidden treasures, telling past, present, and future, and procuring love, each as its own petition, not blurred together. 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 Gremory seal made in this way, this is the one I offer: Gremory cast Daemon Demon seal pendant, 2 inches, $216 CAD. View the product
Gremory incense and Gremory oil, both $44 CAD, are the matching companions for the same work.
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