A Seal You Choose, Cast for the Daemon You Work With

A seal is not a picture of a seal

A seal for Goetia work should be a seal, not a picture of one. That distinction sounds simple, and it is, but it changes how you work with the thing in your hands. A picture can be looked at. A seal can be carried, held, put under a candle, anointed with oil, worn as a pendant, and shown to the desired person in the course of a working. It 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.

That is why the form of a seal matters in traditional Goetia work, and why a seal that is made properly is different from a seal that is merely reproduced. The seal in this article is a lost wax cast seal, 2 inches, in sterling silver, made as a pendant for traditional Goetia work. It is made to be carried and worked with, not left in a drawer as decoration, and not filed away as a reference image.

If you are new to this kind of work, it is worth asking yourself, before you order anything, whether you actually want a working tool, 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.

Choosing which daemon

Using the selection menu, you choose which particular Daemon you would like to order the seal of. That choice is the first part of the working, and it deserves more attention than it usually gets.

Do not choose by familiarity alone. A name you have heard often is not automatically the name that fits the working in front of you. If you cannot state the purpose in one clear sentence, write it down, leave it overnight, and come back to see if it still reads true. A seal ordered for a vague purpose will be worked with vaguely, and the record afterwards will show it.

It is also worth asking whether you already have a relationship with the spirit you are considering, or whether you are beginning one. A seal for a spirit you already work with serves a different function from a seal for a spirit you are approaching for the first time. The first deepens an existing working. The second opens a new one, and should be approached with the preparation, reading, and care that a new working requires. Either is a legitimate reason to order a seal, but they are not the same reason, and confusing them leads to seals ordered in enthusiasm and then left unworked.

Take time with the selection. The answer will shape how you prepare, how you carry the seal, and how you judge the working afterwards.

How a lost-wax cast seal is made

These 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.

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 seal has weight, it has a surface that shows the hand work, and it does not have the layered texture of a printed object.

Athena notes that she was fortunate enough to be able to purchase lost wax casting equipment, as well as to take a few jewellery courses to help enhance her abilities. That background matters, because casting is a craft skill, not a button press. Each seal passes through hands, through wax, through fire, and through finishing, before it is a pendant you can wear. The process explains both the quality of the object and the time it takes.

That process also explains why a cast seal is made to order. A seal that is cast for you, for a daemon you have chosen, cannot be pulled from a shelf, because it does not exist until you choose it. Allow for that time in your planning, and do not schedule a working that depends on the seal for the week it is ordered.

Handmade means slight imperfections

That honesty is worth dwelling on, because it corrects a common expectation. A handmade cast seal will not look like a machine-stamped disc. It will show the marks of the hand that made it, in small ways, in the surface, in the edges, in the fine detail.

Those imperfections are not flaws in the magical sense, and they are not a sign of carelessness. They are the signature of a process in which a human hand, not a machine, carried the seal from wax to metal. A practitioner who understands that will read the seal differently: not as a perfect reproduction of a diagram, but as an object made for a working, by a maker, for a specific spirit, at a specific time. That specificity is part of what makes a cast seal different from a printed image, which can be reproduced perfectly and endlessly, and which therefore carries no particular making at all.

If you want a flawless, identical, machine-finished object, a handmade cast seal is not the right purchase, and it is better to know that before ordering than to be disappointed afterwards. If you want a working tool made by hand, for the daemon you chose, the slight imperfections are part of what you are buying, not an apology for it.

Working with a seal: holding, carrying, anointing

A pendant seal is made to be carried, and carrying it is part of the work, not an afterthought. Wear it when you are working, and put it away properly when you are not, rather than leaving it in a pocket with keys and loose change, or on a bathroom shelf. A tool that is treated carelessly tends to be worked with carelessly, and that shows in the record you keep afterwards.

Hold the seal before you work with it. Take time to look at it, to feel its weight and its surface, and to set it aside in a clean place that is used for your working tools. If your practice calls for cleansing or consecration of a new tool, follow the instructions you already follow in your system. A general article like this one is not a substitute for proper teaching in the system, and it should not be used to invent a consecration rite for a seal you have not been taught to consecrate.

Anointing a seal is a way of marking it for a purpose. In practice, that is often done with a matching oil, applied deliberately, naming the purpose in your own words. Putting the seal under a candle is another way of placing it within a working: the seal sits beneath or beside the flame for the duration of the working, as a focus for the petition. Carrying the seal, wearing it as a pendant, keeps it with you beyond the working itself, so that the working is not confined to a single night at an altar. Showing the seal to the desired person, where a working calls for it, is a further use, specific to workings where presence and showing are part of the method. Each of these uses belongs to a different kind of working, and a practitioner should choose among them according to their own system, not combine them all at once in the hope that more methods will produce more effect.

Prepare the room and yourself in the same way you would for any Goetia working: clear the space, set it aside for this purpose, 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. A clear head is a working tool, just as much as a seal, oil, or incense is.

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. First, prepare the room and yourself, as above. Second, set out the seal, and any oil, incense, or candle you will use. Third, anoint the seal or place it under a candle, 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 seal away in its proper place.

Afterwards, write down what you did, when you did it, which daemon's seal you used, and what you noticed. Not what you hoped would happen, but what actually happened, in plain language. That record is what lets you tell, weeks later, whether anything changed, and whether that change had anything to do with the work. Note the seal itself in that record: when you wore it, when you put it away, whether you anointed it or placed it under a candle, and what you noticed on days when you carried it compared with days when you did not.

Do not use a seal as a substitute for the rest of the working. Carrying a seal and then doing nothing else, with no petition, no attention, and no closing, is not spirit work. The seal supports the work, it does not replace it. And 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.

Care for a cast sterling silver pendant

Care for a cast metal pendant is practical, not mystical, and it is worth stating plainly. Pure cast metal will show wear over time, especially if it is worn every day, against skin, against clothing, and against other objects. That wear is normal for a working tool, and it is not a sign that the seal has stopped working. It is a sign that it has been carried.

Keep the pendant in a clean, dry place when you are not wearing it, away from other metal objects that could scratch it. Clean it gently, with a soft cloth, and do not use harsh chemicals or abrasive cleaners on it, unless you know, for sterling silver, that such a cleaner is safe. Silver tarnishes with wear and with air, and gentle cleaning is part of keeping a working tool in good order, not vanity about its appearance.

If the pendant shows damage, or if any fitting loosens, stop wearing it until it can be repaired properly. A tool that is falling apart is a distraction in a working, and a safety risk if it can fall off unnoticed. That is a practical point, but it is also a working point: a tool you are worried about losing is a tool you cannot focus with.

Choosing silver, choosing size

Two inches is a substantial seal: large enough to hold, to read, to place under a candle with presence, and to wear as a pendant that is clearly a working tool rather than a piece of jewellery meant to pass unnoticed. It is not a discreet miniature. If you need a seal that no one will notice, a 2-inch pendant may not serve that purpose, and that is worth deciding before ordering rather than discovering afterwards.

Consider the metal in relation to the daemon, to the working, and to your own practice and skin. A seal is worn against the body, sometimes for long periods, and the metal matters practically as well as symbolically. Choose deliberately, and if you are unsure, take time to consider before ordering, because a cast seal is made for you once you choose it.

Sterling silver Goetia lost wax cast Daemon Demon seal pendant, 2 inches

Choose which particular Daemon you would like to order the seal of, using the selection menu, and receive a seal cast for that daemon, for traditional Goetia work.

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 sterling silver, 2 inches, as a pendant, made to be held, carried, worn, anointed, placed under a candle, and worked with — not left as a picture. These are handmade, so slight imperfections are part of the making. I make no promise about what it will do for you, only that it is cast by hand, for the daemon you chose, for this work.

Sterling silver Goetia lost wax cast Daemon Demon seal pendant, 2 inches, $281 CAD. View the product

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