Orobas Goetia cast seal ring
Orobas, in the old books
Orobas is the fifty-fifth spirit listed in the Ars Goetia, a Great Prince, over 20 legions. The old books say he appeareth at first in the form of a horse, but after a while, at the request of the Exorcist, he putteth on the image of a man. He giveth true answers of things past, present, and to come, and of divinity, and of the creation of the world. He bestoweth dignities and prelacies, and the favour of friends and foes, and he defendeth from temptation of any evil spirit, and he deceiveth none, nor doth he suffer the Exorcist to be deceived by any spirit.
That last point is the one this article keeps coming back to, because it is the point that makes Orobas work different from a general request for knowledge. A spirit who deceiveth none, and who does not suffer the exorcist to be deceived by any spirit, is a spirit for a working where the truth of the matter is the point, even when the truth is unwelcome. Dignities and favour are part of the entry, too, but they sit alongside that honesty, not instead of it. If you are asking Orobas for an answer, be prepared for an answer that does not flatter you.
A ring, not a picture of a seal
A seal ring for Orobas should be a ring, 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 ring can be worn, held, anointed, fumigated, 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 matters in traditional Goetia work, and why a ring that is made properly is different from a seal that is merely reproduced.
The ring in this article is for traditional Goetia work with Orobas, as a hand cast seal. It is made to be worn 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.
How a lost-wax cast seal ring 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. The method depends on the metal, and that is a practical detail worth knowing before you order, because it affects how the piece hangs and wears.
Preparing to work with a ring
Preparation is most of the work, and with a ring that preparation starts before the ring arrives. Be clear about why you are working with Orobas, what question you are asking, and what you are prepared to hear in answer. 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. With Orobas, that sentence should name the matter past, present, or to come that you are asking about, and it should not try to steer the answer in advance. A question that already contains its preferred answer is not a question.
When the ring 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 ring you have not been taught to consecrate.
Wearing, holding, anointing, and fumigating
A seal ring is made to be worn, and wearing 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 ring in your hand during a working is also a way of working with it: the seal is present, under your fingers, while you speak and listen, rather than only in front of your eyes.
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. A ring can also be placed under a candle on the working surface, or shown to the desired person in workings where that is part of your practice, though whether that is appropriate depends entirely on the working, and it is not a step to add casually. Each of these uses keeps the ring in the work, rather than leaving it as jewellery.
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: clear the space, set it aside for this purpose, bathe or wash, change into clothes you do not wear for ordinary errands, and settle the question into one clear sentence. Second, set out the ring, and any oil, incense, or candle you will use. Third, hold the ring, and anoint or fumigate it 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 ring 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 ring 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 wore it compared with days when you did not. Note the answer, too, in the form it actually came, not in the form you wished it had come. That honesty in the record is the practical side of working with a spirit who deceiveth none.
Care for a cast ring
Care for a cast metal ring 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 ring in a clean, dry place when you are not wearing it, away from other metal objects that could scratch it, and clean it gently, with a soft cloth, without harsh chemicals or abrasive cleaners unless you know, for the specific metal involved, that such a cleaner is safe.
If the ring loosens, tightens, or shows damage, stop wearing it until it can be repaired or resized properly. A tool that is falling apart, or that you are worried about losing, is a distraction in a working, and a safety risk if it can slip off unnoticed. That is a practical point, but it is also a working point: a tool you cannot focus with is a tool you cannot work with.
Keeping a record, and knowing when to stop
Keep a short record for each working: date, question in one sentence, ring 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 question was unclear, the timing was wrong, the work was not appropriate, or simply that the situation needs a different approach, such as ordinary advice, a conversation with the person concerned, or a decision made in the ordinary world.
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 with Orobas, hold the record to the same standard as the working: a true answer, written down truly, even when it is not the answer you wanted.
Orobas cast seal ring
A seal ring for Orobas should be a ring, 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 Orobas, as a cast seal ring, made for traditional Goetia work with Orobas, to be worn 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 itself, not about delivery dates for physical items.
If you want an Orobas seal ring made in this way, this is the one I offer: Orobas Goetia cast seal ring, $216 CAD. View the product
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