The Enochian ring of Dee and Kelly: a working tool, not an ornament

A ring with a named history, not a generic band

The ring offered here is the ring as it was used by John Dee and Edward Kelly to call up on the Enochian entities, the Angels. That is a strong claim, and it is worth taking seriously rather than treating the ring as a piece of jewellery that happens to carry Enochian marks.

Most tools in a working can be improvised, substituted, or left out without changing the shape of the work. A ring of this kind is not in that class. It belongs to the working itself, in the way that a seal belongs to the spirit it names, or a wand belongs to the hand that directs a working. It is worn, carried, and used in the practice, and over time it gathers the association of every working in which it has been present. That accumulation is part of why a named, traditional tool matters, and part of why it should not be bought casually.

Before you order, ask yourself whether you are actually practising Enochian work, or whether you are drawn to the ring because it looks like the right thing to own. There is nothing wrong with admiring it, but a tool bought for admiration tends to sit in a drawer, while a tool bought for practice gets worn, handled, and learned from. The ring serves the second kind of buyer, and this article is written for that buyer.

Bronze or silver, and what that choice means

The ring is offered in bronze or silver. It is a choice of metal, of weight in the hand, and of how the ring will wear over years of use. Bronze and silver age differently, feel differently, and carry different associations for different practitioners, and there is no single right answer that suits every hand or every practice.

Choose the metal you will actually wear. A ring that is too grand for daily wear, or too delicate for the work you do with your hands, will be left off, and a ring left off is not doing the work of a ring. Think about your own practice: whether you wear a ring through a whole working, whether you put it on only for Enochian sessions, and whether you want it to be visible in ordinary life or kept private. Let those practical answers settle the metal, rather than choosing on appearance alone.

It does not rank the two metals for Enochian work, and this article does not invent such a ranking. If a teacher you work with has a preference for your practice, follow that teacher. Otherwise, follow your hand, your budget, and the metal you will keep wearing.

How the ring is made here

These rings are hand made using lost wax casting. That method matters for a ring of this kind, because it means the design is formed in wax first, by hand, and then cast, rather than stamped out by machine in identical copies. A cast ring carries the small marks of its making, and each one is a handmade object rather than a factory product, even when the design itself is traditional and unchanged.

Lost wax casting also means that the ring should be expected to look like a handmade cast piece, not like a machine-polished commercial ring. The design will be the design, but the surface, the weight, and the small variations that come from casting by hand are part of the object you receive. If you want a ring that looks exactly like a photograph, down to the last reflection, a handmade cast ring is the wrong purchase. If you want a ring made by hand for Enochian practice, that handmade character is the point.

The ring is a tool, and tools need care. Keep it somewhere set apart when you are not wearing it, rather than loose in a pocket with keys and coins. Clean it in the way appropriate to its metal, and do not wear it for work that would damage it, such as heavy manual labour, unless you accept that damage as part of its life. A tool that is cared for lasts, and a tool that lasts gathers the history of its use.

Wearing the ring in a working

When you begin Enochian work with the ring, wear it deliberately, not incidentally. Put it on as part of preparing for the working, in the same way you would set out the other tools for the session, clear the space, and settle yourself. That deliberate act of putting it on marks the time as set apart, for yourself, and it tells you, in a physical way, that the working has begun.

Hold the ring in your hand before a working, if that is part of your practice, and look at the design rather than rushing past it. A ring is small, and its design is easy to ignore once it is on your finger. Taking a moment to hold it, to see it, and to recall why you are wearing it is a simple discipline, and simple disciplines are often the ones that hold a practice together over years. The ring does not do the work for you, but it can hold your attention to the work, and attention is a large part of any working.

After a working, take the ring off deliberately as well, or leave it on if that is your settled practice, but decide which it is, and keep to it. A practice that changes every time, without reason, is hard to learn from, because you cannot tell afterwards what belonged to the working and what belonged to the change. Consistency in small things, like when the ring goes on and comes off, makes the record of a working easier to read later.

Preparation is still most of the work

A ring, however traditional, does not replace preparation. Before an Enochian working, clear the space you will use, set it aside for the purpose, and prepare yourself in the ordinary ways that matter: bathe or wash, change into clothes you do not wear for errands, and avoid beginning when you are exhausted, drunk, or already agitated. A clear head is a working tool, just as much as the ring is, and it is the tool most often neglected.

Know what you are going to do in the working, and what you are not going to do. Enochian work has its own systems, tables, and forms, and a general article like this one is not a substitute for proper teaching in the system you follow. Do not treat a general article as a licence to improvise a whole Enochian system.

Write down what you did, when you did it, and what you noticed, in plain language, after each working. Note whether you wore the ring, which metal you wore, and anything about the working that seemed different from sessions without it. That record, kept over months, is what lets you tell whether the ring is settling into your practice, or whether it is simply an object you own.

What the ring is not

The ring is not a shortcut to Enochian results, and it is not a substitute for learning the system. A practitioner who buys the ring and expects the work to do itself will be disappointed, however well the ring is made, because that was never what a tool does. A tool serves a practice. It does not replace one, and it does not carry a practitioner who has not done the learning the practice requires.

It is also not a general-purpose magickal ring. If your practice is elsewhere, in another system entirely, this ring may still appeal to you, but you should be honest about that: you would be borrowing a tool from a system you do not practise, and you should expect it to feel like a borrowed tool, not like a tool made for the work you actually do.

Finally, the ring is not a promise. No guaranteed magical result is promised with it, and that wording is about magical result, not about delivery dates for a physical item. Judge it on that, and on how it serves your practice over time, not on a single working.

Bronze or silver Enochian magick ring

I hand make this ring using lost wax casting, in bronze or silver, as the ring used by John Dee and Edward Kelly to call up on the Enochian entities, referred to by the Enochian Angels as the original Ring of Solomon, and one of the most important tools in the practice of Enochian magick. The bronze looks just like 14k gold. I make no promise about what it will do for you, only that it is made by hand, for this work.

If you want the ring for that work, this is the one I offer: Bronze or silver Enochian magick ring, $216 CAD. View the product

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