Working with Naberius: a seal for rhetoric, arts, and restored standing

A seal is not a picture of a seal

A seal for Naberius 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 Naberius, as a hand cast seal, in pendant form, 1 inch. 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.

Naberius, and what working with him is for

In the Grimoire Companion material, Naberius is a Marquis who makes one cunning in arts and sciences and masterful in rhetoric, and who restores lost dignities. That is a specific domain, and it is worth keeping it specific, because rhetoric, arts, and standing are three different things, even though they often travel together in a person's life.

Rhetoric, in this context, does not mean empty talk, or the art of saying things prettily. It means the art of speaking well, in a way that is understood, persuasive, and suited to the occasion. A person who is masterful in rhetoric can state a case clearly, can answer a challenge without losing the thread, and can speak in a formal setting without the words falling apart under pressure. If you have ever known exactly what you meant, and then watched the words come out tangled in the moment that mattered, you know why rhetoric is a practical art, not a decorative one.

Cunning in arts and sciences is a broader claim, and it should be read in its traditional sense: skill, knowledge, and a quickness of mind in the arts you practise, whether those arts are scholarly, craft-based, or magickal. It is not a claim that Naberius will teach you a subject you have never studied, overnight. It is a claim about facility: about learning more readily, seeing connections more quickly, and working with greater skill in a field you are already engaged with. Be specific about which art or science you mean. A vague wish to be clever in general is hard to read afterwards. A clear statement of the field, and of the skill within it that you want to strengthen, is easier to work with and easier to recognise.

Restoring lost dignities is the third part, and it is the most personal of the three. A dignity, in this sense, is not only a title or an office. It is standing: the respect, position, or good name that a person once held and has lost, through their own mistake, through the action of others, or through circumstances that were not fairly of their making. Restoring it does not mean pretending the loss never happened. It means rebuilding standing, in a way that is recognised by others, not only felt by yourself. Before you work on that, be clear about what was lost, how it was lost, and what restoration would actually look like in ordinary life. A working aimed at a vague sense of lost standing, without that clarity, will be hard to read, and hard to close properly.

This article makes no promise about the magical result of Naberius work. That wording is about the magical result, not about delivery dates for physical items. What it offers is a description of the domain, as given in the traditional material, so that you can decide, plainly, whether that domain is the one you actually need.

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.

A 1 inch seal is a smaller seal than the 2 inch seals also offered for many spirits. That size difference is practical, not just numerical. A 1 inch pendant sits more discreetly, is lighter to wear every day, and is easier to carry without drawing attention. It is also smaller to anoint and to fumigate, and smaller to hold in the hand during a working. If you want a seal for daily carrying, in ordinary settings, a 1 inch seal is often the more practical choice. If you want a seal primarily for altar work, where size and visibility matter more than discretion, a larger seal may suit better. Choose according to how you will actually use it, not according to which size sounds more impressive.

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 Naberius, what you are asking for, and what you are prepared to do yourself. 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 rhetoric work, that sentence is itself a test: if you cannot state the matter clearly on paper, in private, you are not yet ready to speak it clearly in a setting that matters.

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. In rhetoric work, that preparation is doubly important, because the working itself is about speaking well, and speaking well begins with a clear head, not with a seal.

Carrying, holding, anointing, and showing

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.

Holding the seal is a practice in itself, and one worth doing deliberately. Hold it in your hand before you speak, in a working or in preparation for speaking, and let the weight and surface of it bring your attention back to the purpose. That is not a complicated rite. It is a physical anchor for attention, and attention is what rhetoric depends on. A speaker whose attention is scattered will speak in a scattered way, whatever seal they are holding. A speaker who has gathered their attention, even briefly, will speak more clearly.

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. Putting oil on a seal, for Naberius work, is best done with a specific speaking or learning purpose in mind, not as a general blessing with no object. Name the occasion, or the field, or the standing you are working to restore, in your own words, as you anoint.

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. Do that deliberately, too, passing the seal through the smoke with the purpose in mind, rather than waving it through quickly and putting it away.

Putting the seal under a candle is another way of working with it, in a practice where a candle is lit for the working and the seal is placed beneath it, or beside it, for the duration of the working. If your practice calls for that, place the seal carefully, on a safe, heat-proof surface, and do not leave a candle unattended. Showing the seal to a desired person is a further use mentioned in general seal working, and in Naberius work it can be understood plainly: showing, in a working sense, the seal to the person or audience whose understanding you seek, as part of the petition, rather than as a display piece for ordinary conversation. Use that practice only as your own system teaches it, and do not turn a working tool into a conversation piece.

Do not use a seal as a substitute for the rest of the work. 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. In rhetoric work, that point is sharp: a seal will not do your speaking for you. It may support clearer speaking, as described in the traditional domain, but the speaking itself remains yours to do, in the ordinary world, with preparation, practice, and honesty about what you mean.

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, hold the seal, and anoint or fumigate it, if your practice calls for it, deliberately, naming the purpose in your own words. Fourth, place the seal under a candle, or carry it, as your practice calls for. Fifth, speak your petition, clearly and once, rather than repeating it until it loses its shape. Sixth, sit quietly for a time and listen, rather than filling every moment with more words. Seventh, 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 Naberius work, note speech in particular: occasions when you spoke, how clearly you spoke, whether you were understood, and whether standing or reputation showed any change in ordinary life. Note the seal 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.

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. In rhetoric work, that point cuts both ways: repeating a petition is not the same as speaking more clearly, and clearer speaking is often what was missing in the first place.

Naberius cast seal pendant, 1 inch

A seal for Naberius 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 Naberius, as a pendant, 1 inch, made for traditional Goetia work with Naberius, 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. That wording is about the magical result, not about delivery dates.

If you want a Naberius seal made in this way, this is the one I offer: Naberius cast Daemon Demon seal pendant, 1 inch, $108 CAD. View the product

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