Sargatanas: the Grand Grimoire brigadier, and a cast seal for his work
Who Sargatanas is in the Grand Grimoire
Sargatanas, also given as Sagatana, is a Brigadier-Major in the Grand Grimoire hierarchy. He is one of the chiefs under the superiors of that system, and he commands several brigades of spirits. His subordinates include Zoray, Valefar, and Faraii, names that correspond to Goetic Leraje, Valefor, and Foras in the standard scholarly identifications. That hierarchy matters, because Sargatanas is not a lone name on a list. He sits inside a system, with a rank, a command, and a set of offices, and work with him belongs inside that system, not apart from it.
His offices, as given in the Grimoire Companion summary of the Grand Grimoire tradition, are striking in their range. He makes any person invisible. He transports anyone anywhere. He opens all locks. He reveals what is happening in private houses. He teaches the arts of shepherds. That is a wide set of offices, and it is worth pausing on each one, because each one points to a different kind of working, and a working that tries to cover all of them at once will cover none of them well.
Invisibility, in this context, is not a parlour trick. In grimoire work it is usually understood as being unnoticed, overlooked, or passed by, rather than literally vanishing from sight. Transport is likewise a matter of movement and passage, of getting a person or a matter from one place to another. Opening locks is about barriers and closures, whether those are doors, decisions, or situations that have shut. Revealing what happens in private houses is a matter of hidden knowledge, of learning what is not openly said. The shepherd's arts are a reminder that this system also includes practical, pastoral knowledge, not only dramatic powers. Each office deserves its own clear petition, not a single vague request for everything at once.
Why a seal, and why a cast seal
A seal is a drawn or engraved figure that stands for a spirit in the working. It is set out, worked with, and kept as the focus of the petition, rather than as decoration. In practice, a seal gives the working a centre: something to look at, to hold, to anoint, and to put away properly when the working is closed. Without that centre, a working can drift into general intention, and general intention is hard to read afterwards.
The seals offered here are lost wax cast seals of the seals from 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. That distinction matters in practice, not as a selling point, but as a matter of weight, feel, and durability. A cast seal has a heft in the hand that a printed copy does not, and it survives handling, anointing, and years of use in a way that a lighter copy may not.
The designs are hand engraved right into the wax used to create the seals, and no engraving machine is used for this, since that would take away much of the magic. That handwork is part of why the made-to-order time is what it is. A seal made this way is not pulled from a shelf. It is cast for the order, and that making time is part of the work, not a delay in it.
Working with the seal in practice
There are several ways to work with a seal, and the right one depends on the working and on the system you follow. You can hold it during the working, keeping it in your hand while you speak your petition, so that the seal itself is the point of contact. You can put it under a candle, letting the candle burn over it for the duration of the working, so that the seal sits at the centre of the light and the heat. You can put oil on it, anointing it deliberately, naming the purpose in your own words as you do so. You can carry it with you, keeping it on your person through the day or through the particular encounter the working concerns. You can wear it as a pendant, which is why these seals are offered with a bail cast onto them or soldered on, depending on the metal used, so that the seal can be worn. Or you can show it to the desired person, in workings where that showing is part of the practice you follow.
For Sargatanas work, the way you use the seal should follow the office you are actually petitioning. A working for passing unnoticed may call for carrying the seal, kept close and private. A working for opening a barrier may call for setting the seal out, anointing it, and working with it in a fixed place, rather than carrying it about. A working for hidden knowledge may call for holding the seal while you sit quietly and listen, rather than filling the time with more words. Let the office shape the method, and let the method stay simple enough that you can do it properly, rather than elaborately and badly.
Whatever method you choose, keep the working order simple and consistent. Prepare the room and yourself. Set out the seal and anything else you will use. Anoint, if you are anointing, deliberately. Speak your petition clearly and once, rather than repeating it until it loses its shape. Sit quietly for a time and listen. Close the working properly, in whatever way your practice requires, and put the seal away in its proper place. That closing matters. A seal left out, handled carelessly, or mixed in with ordinary objects loses its standing as a working tool, and it becomes harder to pick up the thread next time.
Choosing a metal, and the making time
If you are choosing between metals, choose according to the practice you follow and the way you intend to use the seal: a seal to be worn daily as a pendant has different practical needs from a seal kept on an altar and handled only during workings. Weight, durability, and care all differ between metals, and those practical differences are worth considering alongside any traditional associations your system gives to a metal.
The made-to-order time mentioned in the source is approximately two to three weeks, with eight weeks for seals that are not listed but fall under the other option, because their waxes have not yet been carved. That time reflects the hand casting process: wax, engraving, casting, and finishing, done for the order. If you are planning a working around a particular date, allow for that making time in your planning, and do not treat it as an afterthought. The seal is made for you, and that making takes time.
Being specific about what you want
Sargatanas has several offices, and that range is a trap for vague petitions. Be specific about which office you are working with, and what you are actually asking to change. If you want to pass unnoticed, say in what situation, and for how long, in your own private preparation. If you want a barrier opened, say which barrier, and what lies on the other side of it that you are prepared to deal with. If you want hidden knowledge, say what you want to know, and what you will do with the knowledge once you have it. A petition that tries to cover invisibility, transport, locks, and hidden knowledge in one breath will not be a clear petition for any of them.
Reflection about being specific is not a restriction on the work. It is what makes the work readable afterwards. 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. After the working, keep a short record: date, purpose in one sentence, seal and method used, what you did, and what you noticed afterwards, over days and weeks, not just on the night itself.
What not to do
Do not treat a general article as a substitute for proper teaching in the system. The Grand Grimoire is a system with its own hierarchy, forms, and requirements, and work with a chief like Sargatanas belongs inside that system, under the teaching you already follow. If you have not studied the system, a seal alone does not supply that study. Read, learn, and ask a teacher you trust before you begin, rather than improvising a hierarchy you do not yet understand.
Do not use the seal as a casual object. Do not lend it about, do not leave it where it will be handled as jewellery by people who do not know what it is, and do not mix it with ordinary trinkets. That is not superstition. It is care for a tool, and care for a tool is part of keeping a practice coherent over time. If you wear it as a pendant, wear it deliberately, and keep it clean and in good repair.
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.
When this is not the right work
Sometimes the right answer is not a spirit working at all. If the matter is legal, a matter of safety, or a medical matter, deal with it 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 protective practice first and see how that sits.
It is also worth asking whether the office you are petitioning matches the real problem. A working for passing unnoticed will not solve a problem that actually needs a direct conversation. A working for hidden knowledge will not help if the knowledge you need is already available and you have simply not asked for it yet. Match the office to the matter, honestly, before you begin.
Sargatanas Grand Grimoire cast seal, one inch
A lost wax cast seal of Sargatanas from the Grand Grimoire, pure metal cast starting with a wax version, hand engraved into the wax, offered as a seal or with a bail for wearing as a pendant. I have been practicing magic for 25 years now, and I make these seals by hand, not by 3D printing in metal powder and plastic. I make no promise about what it will do for you, only that it is cast by hand, for this work.
If you want the seal for that work, this is the one I offer: Sargatanas Grand Grimoire cast seal one inch, $324 CAD. View the product
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