Working with the seal of SURGAT: opening locks, and a cast seal made to be carried

SURGAT, who opens all locks

SURGAT is a spirit of the Grimoirium Verum, and the seal offered here is a one inch cast metal seal or pendant of SURGAT, who opens all locks. That short description is the whole working, in one sentence, and it is worth sitting with before you do anything else. A lock is a thing that keeps something shut. Opening it is a thing that lets something through, or lets something out. The question for any working with SURGAT is: which lock, and what is on either side of it?

Locks take many forms. A literal lock, on a door or a box, is the plainest form, and the tradition that names SURGAT as an opener of locks includes that plain sense. But most locks in a life are not made of metal. They are situations that will not move, conversations that will not open, opportunities that stay shut, habits that keep a person in one place, and decisions that cannot be made because something in the way has not yet shifted. A working with SURGAT should name the lock it means, or it will be a working for opening in general, which is a working for nothing in particular.

All locks, as the description says, is a broad claim, and breadth is a reason for care, not for carelessness. A seal that opens all locks is not a seal to use idly, or for every small frustration. It is a seal for the lock that matters: the one that has resisted ordinary effort, that has been tried by ordinary means, and that still holds. If ordinary effort has not yet been tried, try it first. The seal will mean more, and be read more honestly, when it follows effort rather than replacing it.

Name the lock

Before you work with this seal, write down the lock in one clear sentence. Not a paragraph about everything that feels stuck, but one sentence that names the particular thing that will not open. For example, a negotiation that stalls at the same point every time, a creative work that will not move past a certain stage, a relationship conversation that cannot begin, or a practical matter, like a house or a job, that stays just out of reach.

Leave that sentence overnight and read it again. Does it still name the real lock? Often the first version names a symptom: the door that will not open, rather than the key that is missing, or the person who holds it. A second version, written after a night's thought, may name something more precise, and more honest. That precision matters, because a working aimed at the wrong lock will open nothing, or will open something you did not intend, and you will be left interpreting the result after the fact.

It is also worth naming what opening the lock would actually change. If the lock opened tomorrow, what would you do differently? What would be possible that is not possible now? If you cannot answer that, the lock may not be the real matter. If you can answer it, in concrete terms, then you have a working worth doing, and a measure for afterwards: did that concrete change become possible, or not?

What the seal is: lost wax cast, pure metal

These seals are lost wax cast seals of the spirits of the various grimoires. They are pure metal which is actually cast, starting with a wax version, which is much higher quality than the three-dimensional printed versions, using metal powder and plastic, that you find around the internet. That distinction is not a matter of snobbery. It is a matter of what the object is.

Lost wax casting begins with a wax model, carved by hand, which is then used to form a mould into which molten metal is poured. The wax is lost in the process, and the metal that remains carries the detail of the carving. A printed imitation, by contrast, is built up from powder and plastic, and it feels and wears like what it is. When you hold a cast seal, you are holding metal, with weight, with a surface that will age, and with detail that was carved rather than printed.

That weight and solidity matter in practice. A seal you work with is handled, held, placed under a candle, anointed with oil, carried, and worn. It is knocked, warmed by the hand, and kept for years. A cast metal seal stands up to that life. A printed imitation does not, and it will tell you so, in the hand, long before it tells you in the eye.

Metals, size, and wearing the seal as a pendant

The metals mentioned in the source for this seal are copper, bronze, steel, gold, silver, and brass. The seal itself is one inch. One inch is large enough to hold and to see clearly, and small enough to carry or wear without becoming cumbersome. It is a working size, not a display size.

That pendant option matters for a lock-opening working, because it means the seal can be worn through the day, present at the moment when the lock is met, rather than left in a working room.

Choose the metal you will actually want to hold, carry, and wear. Copper warms quickly and darkens with handling. Silver is bright and light. Bronze and brass are sturdy and warm in tone. Steel is hard and plain. Gold is gold. A seal that stays in a drawer, however fine its metal, is not being worked with. Made to order time mentioned in the source is approximately two to three weeks, and eight weeks for the ones which are not listed but are under the other option, because the waxes for those have not been carved yet.

Working with the seal: holding, candle, oil, carrying, wearing

There are several ways to work with a seal, and they are best learned as a small set of practices you can combine. Hold the seal in your hands while you state your purpose, in your own words, clearly and once, naming the lock you mean. Holding it is how you bring your attention to the seal itself, and to the spirit it belongs to, before anything else happens.

Put the seal under a candle for a working, so that the candle burns over or beside it while you work. The candle marks the time as set apart, and the seal sits within that marked time. You can also put oil on the seal, anointing it deliberately, as you would anoint a tool or a candle, naming the purpose as you do so. Oil stays on the metal while you work, and reminds you, through the working, of what you set out to do.

Carry the seal with you, or wear it as a pendant, when the working calls for the seal to be present in ordinary life, at the place where the lock is met: the meeting, the conversation, the office, the house. A seal carried in a pocket or worn around the neck keeps the working close through the day, and it changes how you notice openings: you are more likely to register a shift, a softening, a door that moves, when you are carrying the seal for that purpose. If your practice calls for showing the seal toward the matter at hand, do that deliberately, with the purpose in mind, rather than as a casual gesture.

Preparing the room and yourself

Preparation is most of the work, and a seal working is no exception. Clear the space you will use, and set it aside for this purpose. Put away the things that pull your attention elsewhere. If you have a regular working space, use it. If you do not, choose one place and use it consistently for this working, so the place itself starts to carry the association.

Then prepare yourself. Bathe, or at least wash your hands and face, and change into clothes you do not wear for ordinary errands. This is not about looking a certain way for anyone else. It is about marking, for yourself, that this time is set apart. Eat simply beforehand if you can, and avoid starting a working when you are exhausted, drunk, or already agitated. A clear head is a working tool, just as much as a seal is.

Know what you are going to say, and what you are not going to say. A petition that tries to cover every possible outcome usually covers none of them well. Keep it direct, keep it honest, and keep it to the lock at hand. If you work in a system with its own forms for SURGAT and the Grimoirium Verum, use the forms you have been taught. A general article like this one is not a substitute for proper teaching in the system.

Ordinary effort, and the opening

A lock-opening working sits alongside ordinary effort, not instead of it. If the lock is a negotiation, prepare for the negotiation. If it is a conversation, think about what you will actually say, and what you will listen for. If it is a practical matter, do the paperwork, make the call, or take the step that has been waiting. The seal supports that effort. It does not excuse you from it.

Watch, too, for openings that do not look like openings. A lock sometimes opens sideways: not the door you were pushing, but a window, a different conversation, a change in the other person's position, a new piece of information that reframes the whole matter. If you only watch the original door, you may miss the opening that actually happened. That is another reason to keep a record, and to read it back with fresh eyes.

Be careful, as well, about what you open. Not every shut thing should be opened, and not every locked door leads somewhere you want to go. Ask, before the working, whether opening this lock serves the people involved, including yourself, in the longer term, or whether it serves only an immediate frustration. This is not a prohibition. It is a reflection, and it is worth making, because an opened lock cannot always be shut again.

Keeping a record, and keeping the seal

Keep a short record: the date, the lock in one sentence, what ordinary effort you had already made, what you did with the seal, and what you noticed afterwards, over days and weeks, in plain language. Note what actually opened, what stayed shut, and what opened sideways, in a way you did not expect. That record is what lets you judge the working honestly, rather than by enthusiasm on one night.

If nothing opens, that is also information. It may mean the lock was not the real one, the timing was wrong, the ordinary effort was not yet sufficient, or the matter needs a different approach. Do not repeat the same working endlessly in the hope that repetition alone will force an opening. 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.

Keep the seal in its proper place between workings: a pouch, a box, or an altar space of its own, apart from everyday objects. Clean it in a way suited to its metal, and handle it with the same attention you brought to its first working. Use it for its purpose, carry it or wear it when the working calls for it, and let it be a working tool, not merely a possession.

SURGAT Grimoirium Verum one inch cast seal

If you want a seal of SURGAT for this work, this is the one offered here: a one inch cast metal seal or pendant of SURGAT, who opens all locks, lost wax cast in pure metal, starting with a wax version, available as a disc or with a bail so you can use it as a pendant.

SURGAT Grimoirium Verum one inch cast seal, $108 CAD. View the product

I make no promise about what the seal will do for you. That wording is about the magical result of the work itself, not about delivery dates for physical items.

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