Satanachia Grand Grimoire cast seal one inch

November 1, 2026

Satanachia, and the spirits under him

Four of these are the chiefs: Sergutthy, Heramael, Trimasael, and Sustugriel.

Those four chiefs deserve their names to be kept, because names are how a tradition distinguishes one spirit from another, and a list of chiefs without names would be a list without use.

Versions differ, counts differ, and the seal itself does not depend on resolving that difference. What matters, for the seal, is that Satanachia is presented as a grand spirit, with chiefs under him, and with a host under those chiefs, and that the seal is for work with Satanachia, in that Grand Grimoire setting, and that setting, with its hierarchy, is the setting in which the seal is worked with.

The traditional power

That is the traditional wording, and it is presented here as the tradition's wording, for a Grand Grimoire spirit, in a grimoire tradition that speaks in the language of its time, about lords, wives, maidens, and wishes, in terms that a modern reader will recognise as old, and as belonging to a particular book, rather than to a modern manual, and that recognition, of old language belonging to an old book, is part of reading a grimoire honestly.

Being specific about what you want is part of working with any spirit of this kind, and it is especially important here, because a traditional power stated in broad terms can easily be taken up as a vague wish, and a vague wish is not a working. What, exactly, do you want, in your own words, in this working, and what would it look like, in ordinary life, if it happened? Write that down in one clear sentence, leave it overnight, and come back to see if it still reads true, because a sentence that still reads true the next day is a sentence you can work with, and a sentence that has already changed is a sentence that was not yet the real want, and a working built on a want that has already changed is a working built on sand.

That specificity is not a moral addition to this article, it is a working discipline, and it applies to every seal working, whether the spirit's domain is love, or lords, or festivals, or any other matter. A clear petition, stated once, rather than repeated until it loses its shape, and a record kept afterwards, of what was done and what was noticed, are what let a practitioner tell, weeks later, whether anything changed, and whether that change had anything to do with the work. Without that clarity, and without that record, a working becomes a hope, and a hope, however strong, is not a record of anything, and it cannot teach you anything about the work you did.

A one inch seal, for holding, carrying, and wearing

One inch is a small seal, and that smallness fits a seal for a grand spirit in a particular way. A grand spirit's seal does not need to be large to be present, and a one inch seal, held in the hand, carried in a pocket, or worn as a pendant, can be present in the ordinary moments when the matter is live, without announcing itself to everyone in the room. That discretion is part of why a one inch seal is offered, and it should be chosen with that use in mind, rather than as a smaller, cheaper version of a larger seal, because a one inch seal is a different tool, for a different kind of carrying, and it asks for a different kind of care, and that care, in turn, shapes the working.

The seal-working guidance for this tradition applies here, in full: hold the seal, put it under a candle, put oil on it, carry it, wear it as a pendant, and show it, where your practice calls for showing, to the desired person. Each of those actions should be done deliberately, naming the purpose in your own words, rather than hurriedly, as a routine, and each should follow the system you work in, rather than being invented from a general article. If your practice does not call for candle or oil work with a seal, do not add them because this article mentions them, follow the system you already follow, and do not use a general article as a substitute for teaching, because a rite invented from an article is not a tradition, it is a guess.

Care for a one inch cast seal is practical, and it follows from its size and its material. Keep it in a clean place kept for working tools when you are not wearing it, keep it apart from other metal objects that could scratch it, and clean it gently, with a soft cloth, and with nothing harsh, unless you know, for the metal involved, that a cleaner is safe. A one inch seal is easy to lose, and a seal that is lost is a seal that cannot be worked with, so keep it where you will find it, and where it will not be mixed with ordinary jewellery, keys, or loose change, because a seal mixed with loose change is a seal that will be scratched, and a scratched seal is a damaged tool.

Lost wax casting, and the time a cast seal takes

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, and you can feel that difference when you hold it, and that feeling is part of working with a seal at all.

In lost wax casting, the seal is first worked in wax, then cast in metal from that wax form, and the wax is lost in the process, which is where the name comes from. The metal that remains is a solid, cast object, not a printed shell, and that solidity is part of why a cast seal is made to be carried and worked with, over time, rather than merely looked at. A seal that is cast can be anointed, fumigated, carried, and worn, and it will show that use in its surface, in a way that a printed object, with its different material, will not, and that showing of use, over time, is the life of a working tool, not damage to it.

That process also explains why a cast seal is made to order, and why it takes time. A seal that is already listed takes about two to three weeks while seals that are not listed, but are under the other option, take eight weeks, because, in the maker's own words, she still has not carved their waxes yet.

Preparation, record, and knowing when to stop

Preparation for a working with Satanachia starts, as with any Grand Grimoire working, with clarity about the matter itself, and with the room and yourself prepared in the way your practice teaches. Clear the space, set it aside for this purpose, and know what you are going to say, in your own words, before you begin, because a clear head is a working tool, just as much as a seal, oil, or incense is. Do not start by wearing the seal 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, and let the working begin deliberately, rather than hurriedly, because a working begun in hurry is a working that will carry that hurry through all of it.

Afterwards, keep a short record: date, purpose in one sentence, seal and any oil, incense, or candle used, what you did, and what you noticed over days and weeks, not just on the night itself. Note the seal 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 carried it compared with days when you did not. That record is what lets you tell, weeks later, whether anything changed, and whether that change had anything to do with the work, rather than merely remembering the working as you hoped it would go, and memory, on its own, is a poor record of anything.

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. A seal for Satanachia is a ritual tool, and this article promises no result, magical or otherwise, from working with it.