Working with Sallos: love kept true, and a seal ring worn on the hand
Sallos, love, and keeping affection true
Sallos is described in the Grimoire Companion notes as a Duke who stirs love between the sexes and keeps affection true and lasting. That second part is easy to overlook, and it is the part that makes Sallos work different from a single moment of attraction. Stirring love is a beginning. Keeping affection true and lasting is a course of time, through ordinary days, disagreements, distance, and change. This article is about both parts, because a Sallos working that only thinks about the beginning will not have much to say about what comes after it.
Be specific about what kind of love you mean, and about whether you are working for a beginning, for a relationship that already exists, or for affection that has faded and needs to be held steady. Those are different petitions, and they should not be blurred together. A beginning needs clarity about who is involved and what you are asking to change. A lasting relationship needs clarity about what true and lasting means in practice: honesty, attention, patience, and ordinary care, as well as ritual work. Write the matter down in one sentence, and leave it overnight, to see if it still reads true. That pause is part of the work, not a delay in it.
Reflection about specificity is part of this work, in a practical sense. If you cannot say what kind of love you mean, you will not be able to tell, afterwards, whether anything changed. If you can say it plainly, you can keep a record that actually tells you something, weeks later, about whether affection held, faded, or changed in a way you did not expect. That record is worth more than a vague feeling that the working must have done something, because it is the only way to learn from the work.
A ring, not a pendant, not a picture
A seal ring is a particular form, and it is worth thinking about why a ring fits Sallos work in a way a pendant or a picture does not. A ring is worn on the hand, and the hand is what you use: to touch, to hold, to write, to work, to reach for another person. A ring on the hand is present in ordinary life, not just in a ritual room, and it is seen, by you, many times a day, in the course of ordinary actions. That presence is part of how a ring works as a tool, rather than as decoration.
A ring is also a circle, worn without a beginning or an end that you can point to, and that shape has long been associated with lasting bonds. This article does not invent a correspondence for Sallos on that basis, and it does not claim the shape alone does the work. It notes, plainly, that a ring made to be worn, day after day, fits a working whose aim is described as keeping affection true and lasting, because the tool itself is kept, worn, and carried through time, rather than used once and put away.
If you are new to this kind of work, ask yourself, before you order, whether you actually want a working tool to wear on your hand, 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. A ring needs a size, a metal, and a hand it fits. Those practical matters are part of the working, not an afterthought to it.
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, which is much higher quality than the 3D printed versions using metal powder and plastic that you find around the internet.
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 ring 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 ring is made to order, and why it takes time.
Working with a seal ring: holding, anointing, wearing, showing
A seal ring can be worked with in several ways, and each one fits a different moment in a working. You can hold it, in your hand, during a working, and let the seal itself be the focus of your attention, rather than a picture of it. You can put it under a candle, as part of preparing it for a working, and let the candle burn while the ring sits beneath it, set apart for that purpose. You can put oil on it, anointing it deliberately, naming the purpose in your own words, with a matching oil if your practice calls for one.
You can carry it with you, and you can wear it as a ring, on your hand, through the day, which is the most ordinary and the most constant way of working with a ring. And, for Sallos work in particular, you can show it to the desired person, in the sense of letting the seal be seen in the course of a meeting, rather than hiding it. Showing, in this context, is not a trick. It is a deliberate, open act, and it should only be done when you are willing to be seen showing it, and when the situation is one where showing is appropriate.
Do not use a ring as a substitute for the rest of the working. Wearing a ring and then doing nothing else, with no petition, no attention, and no closing, is not spirit work. The ring supports the work, it does not replace it. If your practice calls for anointing or fumigating a seal, do that deliberately, passing it through incense smoke to start a working, and for fumigating the tools and talismans that will be used in it, rather than waving it through quickly and putting it away.
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, and to the instructions you already follow for Goetia work. First, prepare the room and yourself, as above: clear the space, set it aside, 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. Second, set out the ring, and any oil, incense, or candle you will use. Third, anoint or fumigate the ring, 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, or wear it, in its proper place, 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, over days and weeks, not just on the night itself. 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. That record is what lets you tell, weeks later, whether affection held, changed, or faded, and whether that change had anything to do with the work.
Care for a cast metal ring is practical, not mystical. Pure cast metal will show wear over time, especially if it is worn every day, against skin, against clothing, and against other objects. Keep it 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, unless you know, for the specific metal involved, that such a cleaner is safe.
Keeping a record, and knowing when to stop
Keep a short record for each working: date, purpose in one sentence, ring and any oil or incense used, what you did, and what you noticed afterwards, over days and weeks. 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, or ordinary-world action, such as an honest conversation, alongside the ritual work.
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. A relationship that needs ordinary care will not be kept true by ritual alone, and a working that is honest about that is more useful than one that pretends otherwise.
Sallos Goetia cast seal ring
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 Sallos, as a cast seal ring, for traditional Goetia work with Sallos, to be held, anointed, carried, and worn on the hand, 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 Sallos ring made in this way, this is the one I offer: Sallos Goetia cast seal ring, $216 CAD. View the product
For the same work with Sallos, I also make a matching bath and a matching incense, each $44 CAD. The ring is for wearing and working with day after day. The bath prepares you, and the incense is for the room and the working itself.
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