Working with Nebiros: a one-inch Grand Grimoire cast seal

A seal is not a picture of a seal

A seal for Nebiros 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 work, and why a seal that is made properly is different from a seal that is merely reproduced. The seal in this article is a Grand Grimoire cast seal, one inch, made for traditional Goetia work with Nebiros, as a hand cast seal. It is made to be carried and worked with, not left in a drawer as decoration, and not filed away as a reference image.

One inch is small, and that smallness is part of the point. A one-inch seal is carried close, worn or kept on the person, rather than displayed at a distance. It is a working tool for the pocket, the pouch, or the chain, not a showpiece for a wall. If you want a seal to look at from across a room, this is not that object. If you want a seal to carry with you, and to work with over time, its size is a virtue, not a limitation.

Nebiros, and what working with him is for

He makes a man amiable and cunning in all arts, and especially in rhetoric, and he procures the loss of prelacies and dignities. Nineteen legions hear and obey him.

Read that entry plainly, and the working it points to becomes clear. Amiable and cunning in all arts, especially in rhetoric: that is skill in speaking, in dealing with people, and in handling the arts of persuasion and presentation. Amiable matters here as much as cunning does. A person who is only cunning, without amiability, is soon recognised and guarded against. A person who is amiable, and who knows the arts, is listened to, welcomed, and given room to speak. Rhetoric is the sharp end of that: the ability to put a case clearly, in the right order, so that it is actually heard.

Before you work with this seal, be specific about which art, and which occasion, you mean. Are you preparing to speak, to present, to negotiate, or to be heard in a setting where you have not been heard before? Those are different petitions, and they should not be blurred together. 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. That pause is part of the work, not a delay in it.

Reflection about being specific is worth the time here, because a working aimed at being heard in general, with no occasion and no audience in mind, is hard to read afterwards. A working aimed at a particular speech, presentation, or conversation, with a clear purpose, can be judged afterwards by what actually happened in that setting.

How a hand 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 worked by hand cannot be pulled from a warehouse shelf in the form you want. It has to be made, for your order, and that making takes the time it takes. If you need a seal by a particular occasion, order well in advance, and do not treat a made-to-order tool as if it were a stocked item.

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 Nebiros, 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.

When the seal arrives, do not start by carrying 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 serious 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.

With a rhetoric working, that preparation has an ordinary side as well. Know what you are going to say in the world, not only what you are going to say in the rite. Prepare the speech, the case, or the presentation itself. A seal that frames unprepared speaking will not make up for preparation that was never done.

Carrying, anointing, and fumigating

A small seal is made to be carried, and carrying it is part of the work, not an afterthought. Carry 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.

Those are not six separate rites. They are six ways of keeping a seal in the working, rather than leaving it out of it. Holding it keeps your attention on it. Putting it under a candle keeps it in the working while the candle burns. Putting oil on it marks it for the purpose. Carrying it keeps the working with you through the day. Wearing it as a pendant keeps it close. Showing it, where your practice calls for that, brings the seal into the situation itself.

Which of those ways you use depends on the seal, the working, and your teaching. Do not use all of them at once because a list mentions them. Use the ones your practice calls for, deliberately, and note which ones you used, so your record afterwards means something.

Anointing a seal is a way of marking it for a purpose, 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. Both can be used with this seal, if your practice calls for them.

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. Note the seal itself in that record: when you carried 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. With a rhetoric working, note the speaking itself: what you said, how it was received, and what you would say differently next time.

Care for a small cast seal

Care for a small cast seal is practical, not mystical, and it is worth stating plainly. A one-inch seal is easy to lose, and easy to scratch against other objects in a pocket or pouch. Keep it in a clean, dry place when you are not carrying it, away from other metal objects that could scratch it, and preferably in its own pouch or case. 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 seal shows damage, stop carrying 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.

Nebiros Grand Grimoire cast seal, one inch

A seal for Nebiros should be a seal, not a picture of one.

I make these as hand 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 Nebiros, Grand Grimoire, one inch, made for traditional Goetia work with Nebiros, 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 Nebiros seal made in this way, this is the one I offer: Nebiros Grand Grimoire cast seal, one inch, $324 CAD. View the product

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