The Ring – The ring I had made by a friend who is a jeweler. It is made of 22k gold (she talked me out of 24 saying it would be too soft, we settled on 22k) and is a total of two ounces of pure gold. With labor it cost $1200.00, at the time gold was $400.oo an ounce.
The Sigillum Dei AEmeth – This was one of the more challenging pieces to construct. I took a clean and accurate image of the SDA with the help of Clay Holden and made a mold (brass). It took 25 castings to get it to come out right and it was not an easy process. Getting beeswax to imprint such fine detail was extremely challenging. Once the process was perfected I was able to cast the main 9″ inch SDA for the table, and the 4 smaller ones which are placed under each leg of the table. For the SDA’s under the table legs I took a square block of cedar and routed out a 5″ inch circle, the smaller SDA’s have a one inch boarder for the wood to press on so as to not crush the imprint.
Table Cloth – I ordered 100% incandescent red/green silk online and sewed the golden tassels on the corners.
Red Carpet – On this piece it would have cost $1600.00 to have a custom made 100% silk rug. So as an alternative I instead bought 100% red silk tweed online and sewed it to make a make-shift throw rug. Much more cost effective.
Floor – I went to Home Depot and bought 8 pieces of 2×4 ply and painted one side white. I arranged them into a larger square onto the floor and secured it. I then painted in gold paint the symbols on page 119 of The Enochian Evocation of Dr. John Dee (just the circle and the squares). The banner part of the symbol was to be arranged hanging on the walls. As seen in the picture gallery the rug is laid on top of this and the table atop the rug.
12 Banners – Basically I sewed them and made iron-ons and hung them accordingly
The Holy Table of Practice – Without question the most expensive ($2000.00 just to have it built) and most difficult task of all. In short I decided to go with 100% Red Spanish Cedar as the “sweet wood”. I had the table made with removable legs to start. As for the image, the table measures 40″x40″x40″. I measured the squares that make up the border and contain the lettering to 1.7″ inches each square, 21 squares on all sides. I measured and used stencil material to lay down the lines of the border to keep accuracy, and to make sure the lines were clean using Old Holland oil paint “Crimson Red”. As for the enochian letters, within each square I also used stencil, color – Crimson Red. To lay the lines of the hexagram I used a stencil and a base oil paint of Renaissance gold. Once dried I gilded over the lines with 24k gold leaf. Lastly, and again using stencil and proper measure, I placed the Tablet of Union using Old Holland Cobalt Blue for the lines and gold leaf for the letters. That’s it in short, although brief it was much more challenging than it sounds. I had at two points made mistakes and had to re-sand the entire table, it took me approximately 8 months or so to complete. I drew my final from the TFR and referenced MS-Sloane-3188. Although Dr. Dee wrote it in English reverse from what’s seen in the TFR, after much debate with colleagues decided to stick with the design from the TFR, as outlined in Ashmole’s MS. 1790 (based on what he had seen, as he did actually see the table and wrote extensive notes on the measurements, color, and placement of the Seven Ensigns of Creation ect.).
The Ensigns of Creation – although I have now found an economical source for tin, when I took up this process I had not. Basically I took seven pieces of red Spanish cedar and glued the tin onto the wood. I then placed the images onto the tin completing the pieces.
The Four Watchtowers – Referencing the great table revised by Raphael I broke it into four parts, North, East, South and West. I converted it to Enochian and then had it blown up into 3’ft x 3’ft tablets (as seen in my image gallery). In working with them they serve quite well as gateways.
Additional Banners – I sewed together eight small square banners, on four I placed the pentagram with the five- fold name of God, a Hebrew letter at each point. On the other four, the sigils of the Arch Angels (Michael, Gabriel, Raphael, and Uriel) taken from the book of Armadel. All placed at the appropriate quarter.
The Grimoire – Not seen in the images, but part of the required implements. This is a book I have put together of all the calls, invocations, prayers, ect. that I use in my rituals, 300 pages and growing.
I believe that sums it up, all of which was a very lengthy process. A lot of work, money, effort, research, and study. The whole process took me about 5 years. It wasn’t so much the actual construction, but the journey. Interestingly enough, when all was done, I found that the temple itself (a dedicated room in my house) actually became an entity unto itself. Unbeknown to me at the time, I later discovered that it was feeding off my own life energy during the construction. As the years went by my health continued to rapidly decline. Of all the doctors and specialist I went to, not one could find anything physically wrong with me. My symptoms were very real, testable, and consequential, not simply psychosomatic. Towards completion my health had become quite bad, and almost utterly disabled me. Once the temple was intact and I actually started full ritual work, my first intention was to call upon the Angels of Medicine for a cure. With the assistance of the Angels it was unveiled to me what was happening, why, and for me and my journey, that it was necessary. Now that the temple is completed and the link is severed, it stands as an entity on its own that I work within.
Despite all that, there is an obvious connection which is extraordinarily powerful, (for me) unlike anything I have ever experienced in all my years of practice. A great many practitioners I have spoken to over the years told me that it was unnecessary, some even called me crazy. I have no argument with that point (that implements are necessary, not that I am crazy). Most Enochian practitioners do so without the aid of any implements or egregor at all, and the art is arguably the most powerful form of magic one can practice. The use of these tools, or the lack thereof, does not seem to inhibit the results what so ever. As someone who has practiced both with and without what I can say from my own experience is this. The process of creation by one’s own hands, by direct or indirect intention, creates something that lends tremendous power to the process. These tools which have taken on a life of their own evolved my practice to a level I do not believe would have been possible without them. This was a task I was given for myself and willingly undertook, I regret none of it. I have learned an immeasurable amount during this process and it has all been worth it! My working now and in the future holds great promise and has awakened, enlightened and elevated my awareness to multi-dimensional degrees beyond description or compare.