Pentagram of Solomon

November 1, 2026

The pentagram of Solomon, and what it is for in evocation

The pentagram of Solomon is one of the best-known figures in grimoire work, and it is also one of the most misunderstood, because it is so often reproduced as a picture, without any understanding of what it is for. In Goetia evocation, the pentagram is not decoration. It is a protective and commanding figure, worn or held by the operator, as part of the working itself.

A pentagram used in evocation has a job to do in the room. It marks the operator as the one conducting the working, and it gives that working a fixed, physical point of authority, in the operator's own hand or on the operator's own person, rather than only in words spoken aloud. Words can be forgotten, or spoken hesitantly, in the pressure of a working. A pentagram held or worn stays where it is, and it reminds the operator, through the whole working, of the position they hold in it. That steadiness is not a small thing, especially for a practitioner who is still learning evocation, and who may find their confidence wavering in the middle of a rite.

That is also why the form of the pentagram matters. A pentagram printed on paper, or displayed on a screen, can be looked at, but it cannot be held, worn, or carried through a working in the same way. A pentagram cast in metal, made to be held or worn, 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. If you are doing evocation work, and you want a pentagram for that work, you want the metal object, not the picture of one.

Evocation, and the operator's place in it

Evocation, in the grimoire sense, is the calling of a spirit to a place set apart for it, outside the operator's own circle, so that it can be addressed, questioned, or charged with a task, within the structure of the rite. That structure matters, because it is what keeps the working ordered, rather than open-ended. The circle, the triangle, the seals, and the pentagram each have their part in that structure, and none of them should be treated as optional decoration, to be included or left out by taste.

The operator's place in that structure is central, and it is also demanding. The operator is not a spectator, watching a spirit appear. The operator is the one who calls, who speaks, who listens, and who closes the working properly, and that responsibility cannot be delegated to a tool. A pentagram does not conduct the working for you. It supports you in conducting it, by giving you a fixed point of authority to hold or wear, and by reminding you, through touch as well as sight, of the position you hold.

If you are new to evocation, that point should be taken seriously. Study the system you are working in, learn the structure of the rite, and practise the parts of it that do not involve a spirit at all: setting the space, speaking clearly, listening, and closing properly. A pentagram bought before that study will not teach you the rite. A pentagram bought after that study, or alongside it, will give you a tool for a rite you are actually learning, and that is a very different thing.

How this pentagram is made here

This pentagram is lost wax cast, in sterling silver, copper, or bronze, your choice. Lost wax casting, as with the seal work in this shop, means a wax version is made first, and the metal is cast from it, so the pentagram carries the character of a hand-made original, reproduced in metal, rather than the character of a machine-stamped or printed imitation. That hand character matters for a working tool, because a tool you will hold through a rite should feel made, not manufactured, and should age with use, rather than looking the same, and feeling the same, after years as it did on the first day.

The choice of metal is yours, and it should be made deliberately. Sterling silver is bright, and it tarnishes with wear, and needs care, and that care is part of using it. Copper is warm in colour, and it darkens and changes with handling, and that change is part of its character, not a flaw. Bronze is darker, harder, and more subdued, and it suits a practitioner who wants a working tool that does not draw attention to itself. Choose by how it feels in the hand, how you will care for it, and what fits the work you are actually doing, not by what seems most impressive in a photograph.

Do not choose by price alone, either. A pentagram is a tool you may use for years, through many workings, and the cheapest choice, if it is a metal you will not care for, or a weight you will not enjoy holding, will end up put away, while a choice made for fit, even at a higher cost, will end up used. The right pentagram is the one you will actually hold, in the workings you actually do.

Using the pentagram in a working

In a working, the pentagram is worn or held by the operator, as the system you follow directs. Do not improvise its placement on the spot, if you can avoid it. Know, before the working begins, whether you will wear it, hold it, or place it where it can be seen and touched through the rite, and set it out accordingly, with the other tools, before you begin. A tool fumbled for in the middle of a rite breaks the shape of the rite, and a rite whose shape is broken is harder to close properly.

Prepare the room, prepare yourself, and set out the pentagram with the circle, the seals, and the other tools of the working, in their proper places, before you call anything. That preparation is part of the working, not a prelude to it. A working begun in haste, with tools still being gathered, carries that haste with it, and no amount of authority in the words spoken will fully undo a beginning that was never properly made.

Through the working, let the pentagram do its quiet job: reminding you, by touch, of your place in the rite, and giving you a fixed point to return to, when your attention wavers. That is its function, and it is enough. It does not need to be displayed, explained, or drawn attention to, in the middle of a rite. Its authority, in the working, is in its presence, held or worn steadily, not in any display made of it.

After the working

After the working, close properly, in whatever way your practice requires, and put the pentagram away with the other working tools, in a place set aside for them, not mixed in with ordinary objects. That putting away is part of the closing, and it should not be skipped in favour of leaving tools scattered, to be gathered later, when the mood has passed. A working that is not closed properly, in its practical details as well as in its formal ones, tends to linger, in the practitioner's mind, as unfinished business, and unfinished business has a way of returning, at inconvenient times.

Write down what you did, when you did it, and what you noticed, in plain language, after each working. Not what you hoped would happen, but what actually happened, over days and weeks, not just on the night itself. That record is what lets you tell, later, whether your evocation practice is developing, whether your confidence in the rite is growing, and whether the tools you are using are serving you, or whether they need to be changed.

Care for the pentagram between workings, as its metal requires. Silver tarnishes, copper darkens, bronze dulls, and each of those changes can be cleaned, or left, as you prefer, but the choice should be deliberate, not neglectful. A tool that is cared for, even in small ways, stays distinct from an ordinary possession, and that distinction is what makes it useful when you return to it.

The pentagram among the other tools of the rite

A pentagram does not work alone. In a full evocation, it sits alongside the circle, the triangle, the seals, the incense, and the other tools of the rite, and each of those has its own job. The circle marks the operator's place. The triangle marks the place set apart for the spirit. The seals give the working its fixed points of reference. The incense fills the room and marks the time of the working. The pentagram, worn or held by the operator, marks the operator's own position within that structure, and it should be understood in that company, not in isolation.

That company also explains why the pentagram should be prepared with the other tools, rather than added at the last moment. Set it out with the circle materials, the seals, and the incense, before the working begins, and check that it is where you expect it to be, and in the condition you expect it to be in, before you call anything. A tool discovered to be missing, or tarnished beyond easy reading, or with a damaged edge, in the middle of a rite, is a distraction that could have been avoided by a few minutes of preparation, and a rite is hard enough to conduct well without avoidable distractions.

It is also worth noting what the pentagram is not. It is not a seal for a particular spirit, and it should not be treated as one. A seal for Andras, or for any other spirit, is specific to that spirit, and it carries that spirit's figure. The pentagram of Solomon is general to the operator's position in evocation, whatever spirit is being called, and it should be kept distinct from the seals of the spirits called in any particular working. Mixing those two kinds of tool, by treating a pentagram as though it were a spirit seal, or a spirit seal as though it were a pentagram, blurs a distinction that the structure of the rite depends on, and a blurred structure is a weaker structure, however sincerely the working is conducted.

Keep the pentagram, then, with the operator's tools, not with the spirit seals, between workings, and keep it in the same place, so that you can find it, in the same condition, when the next working begins. That small habit, repeated over years, is what turns a collection of objects into a working kit, and a working kit into a practice.

When this is not the right tool

Sometimes the right answer is not a pentagram at all. If you are not doing evocation work, and you simply like the design, a pentagram made for evocation is not the right purchase, however attractive it is. It is a working tool, made for a particular rite, and it should be bought for that rite, not as jewellery in the ordinary sense, even when it is worn.

If the matter at hand 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. If you are unsure whether a working is appropriate, wait, ask a teacher you trust, or choose a simpler practice first and see how that sits.

I make no promise about what this pentagram will do for you, in terms of magical result. I make a promise about how it is made, as a lost wax cast pentagram in sterling silver, copper, or bronze, as you choose, for Goetia evocation. What follows from your practice is yours to observe, not mine to guarantee. That is about the work itself, not about delivery dates for physical items.