The Angelic
Magickal Tools
“Go forward. God hath blessed thee. I will be thy guide. Thou shalt attain unto thy searching. The world begins with thy doings. Praise God. The angels under my power shall be at thy commandment.” (Archangel Michael, March 11, 1582)
The Seal of the True God 98
“And I saw another angel ascending from the east, having the seal of the living God....And I heard the number of them which were sealed: and there were sealed an hundred and forty and four thousand of all the tribes of the children of Israel.” (Revelation 7:2, 4)
Figure 41: Seal of the True God
The above figure is the central glyph of Dee’s system of angel magick. He referred to it as the Sigillum Dei Aemeth, which literally translates as “Seal-God-Truth.” The figure is based upon earlier versions found in grimoires like Liber Juratis, where it is called the “Seal of the True and Living God.” Therefore, I suggest the intended translation for Sigillum Dei Aemeth in Dee’s journals is “Seal of the True God.” In some cases, Dee shortened this name to Sigillum Dei (Seal of God) or Sigillum Aemeth (Seal of Truth), the latter of which has become the most common name for the seal today.
The Seal of the True God is a Qabalistic compendium of the sevenfold power of God expressed as a group of Hebrew archangels. However, you will not find governors Annael, Cassiel, Sachiel, and their brothers here. Instead, this glyph is the central powerhouse from which those archangels—and indeed the entire Heptarchic royalty—draw their power. (They do not lend their own power to it.) This image truly represents the seven “Spirits” that stand eternally before the Face of God (Revelation 4).
The Seal of the True God is fashioned of wax and placed in the center of the Holy Table (described in the next section) so that one of the Ensigns of Creation rests just beyond each point of the seven-pointed star. Also, four smaller wax seals are to be placed under the feet of the Holy Table.
The Secret Names of God
In chapter 6’s sections on the seven Spirits of God and the seven archangels of the planets, I revealed fourteen secret and unpronounceable names of God—found in Dee’s journals—that give birth to and govern the two groups of Hebrew planetary archangels. These divine names and their archangels are the true heart and soul of the seal. Nearly every angelic name upon it arises in some fashion from these fourteen names of God.
The first seven names appear in the cells of the large heptagon surrounding the seven-pointed star; they are ZllRHia, aZCaacb, paupnhr, hdmhiai, kkaaeee, iieelll, and eellMG 
. They are the divine source of the archangels of the Sephiroth: Zaphkiel, Zadkiel, Cumael, Raphael, Haniel, Michael, and Gabriel. Remember, the Sephiroth are not the planets but the divine wellsprings from which the planetary forces arise. It is from these seven Sephiroth that the Heptarchia ultimately derives its power and authority.
Just inside the large heptagon, between the points of the seven-pointed star, you will find the remaining seven secret names of God: SAAI(21/8.)EME(8.), BTZKASE(30), HEIDENE, DEIMO30A, I(26)MEGCBE, ILAOI(21/8.)VN, and IHRLAA21/8.. They are the divine source of the archangels of the physical planets: Sabathiel, Zedekiel, Madimiel, Semeliel, Nogahel, Corabiel, and Levanael. They are the opposite end of the scale from the archangels of the Sephiroth. They work very close to the physical realm, where they transmit the forces of the seven planets directly to earth.
You will note the names of the planetary angels are found in the very center of the seal, arranged to mirror an earth-central solar system. In the very heart of the symbol is a cross, representing earth. Directly surrounding the cross is the name Levanael, just as the moon closely orbits the earth. Farther out, in the angles of the pentagram, are the names of the angels from Mercury to Jupiter: Corabiel, Nogahel, Semeliel, Madimiel, and Zedekiel.99 Finally, surrounding all of this is the name “Zabathiel” (changed from Sabathiel, as “Z” and “S” seem to be interchangeable), just as Saturn is the furthest planet whose orbit encompasses the solar system.
The Family of Light
Most of the remaining names on the seal—found within the seven-pointed star and the smaller heptagon within it—are those of the twenty-eight angels of the Family of Light. Remember, they are ministers to the Heptarchic kings. Their names are born from the same seven names of God that give rise to the planetary angels (Sabatheil, Zedekiel, etc.)—a mystery I will explore in a later publication.
Because I gave the names of these angels in the previous chapter, I will not repeat them here. Besides the appearance of a few of their names in the talismans of the Heptarchic kings, they appear to play no direct role in the Heptarchic invocations recorded by Dee.
The Seven Secret Angels of the Circumference
“And I saw in the right hand of him that sat on the throne a book written within and on the backside, sealed with seven seals. And I saw a strong angel proclaiming with a loud voice, Who is worthy to open the book, and to loose the seals thereof?” (Revelation 5:1–2)
“And I saw the seven angels which stood before God; and to them were given seven trumpets.” (Revelation 8:2)
Dee’s angels explained that the forty characters (the combined letters and numbers) found in the circumference of the seal form the greatest name of God.100 This great name of God, then, gives birth to seven (actually eight)101 secret angels. However, these angels are not found among the fourteen Hebrew archangels that govern the rest of the seal. The primary seven names, as recorded in Dee’s journals, are as follows:
Table 13: The Seven Secret Angels of the Circumference
|
1 |
Galas |
|
2 |
Gethog |
|
3 |
Thaoth |
|
4 |
Horlon |
|
5 |
Innon |
|
6 |
Aaoth |
|
7 |
Galethog |
Dee did not indicate what function these angels serve. However, we are given a few clues concerning the angel Galethog, who is apparently the leader of the group. If you look again at the Seal of the True God, you’ll notice that Galethog’s name appears just inside the circumference, surrounding the entire figure. Each letter of his name (the final “og” being counted as a single character) has a cross and a number appended to it:
Figure 42: The Seven Sigils of Galethog
According to the archangel Michael, these letters are “the seven Seats of the One and everlasting God,” which represent the Father, Son, and Holy Spirit. The name Galethog is said to banish or destroy the wicked, expel evil spirits, calm rough waters, strengthen the just, and exalt the righteous. (Interestingly, these are some of the very powers attributed to the angels of the Heptarchic royalty.)
Creating the Seal of the True God
The seal must be inscribed upon a disk of pure beeswax. The wax should not be bleached or dyed, merely strained to remove debris. (The angels informed Dee that they “have no respect of color,” at least in relation to the seal.) You can find beeswax in many locations, from health food stores to metaphysical shops to art suppliers. Otherwise, you can search the Internet and easily find suitable beeswax or (best of all) even discover a local apiary (beekeeper) who will sell you wax taken fresh from an active hive.
The disk must be 9 inches in diameter (about 27 inches around the circumference) and it must be 11⁄8 inches thick. You can either make a mold using a clay disk and plaster or silicon, or you can improvise a mold with a 9-inch cake pan. (Make sure you coat the mold with cooking spray before pouring in the wax!) My wife and I went as far as using clay to carve a complete seal, then formed a mold with silicon; that way, we can easily cast a new seal anytime we need one.
The front of the seal should, of course, display the names and figures as shown at the start of this chapter. Upon the back, the following character must be inscribed:
Figure 43: The “AGLA Cross”
This kind of wax tablet has a long tradition in Western occultism, where it is usually known as an almadel or almandel. The tradition seems to extend (at least) as far back as ancient Egypt, where sacred pools of water were used for the purpose of skrying. As it developed over the centuries, many different kinds of reflective surfaces were used—from plates of silver to pools of ink and, eventually, non-reflective tablets of wax. The almadel tradition has also been associated with the use of children, virgins, or even pregnant women as skryers while the conjuror focuses upon the invocations used to call the spirits. The tradition comes to us today in various popular forms, including the use of the “Lamen of Silver” and a child skryer in the Book of Abramelin, the book in the Lemegeton entitled the Art Almadel of Solomon, and (of course) the work of John Dee and Edward Kelley.
Dee seems to have been greatly influenced by the Art Almadel of Solomon in the construction of his skrying furniture. The geometric figures painted on the Holy Table (see next section) are apparently adopted from the almadel itself. However, the table is made of wood rather than wax, so the Seal of the True God becomes the actual almadel of this setup. Like the Solomonic almadel, the seal is essentially a miniature altar, providing a sacred and pure place where angels can be evoked. If you use a crystal ball or other skrying device, it must be placed upon the seal.
Further, the archangel Michael hinted to Dee that the circumference of the seal could be inscribed upon the ground as a kind of magickal circle. Remember that the forty characters of the circumference, taken altogether, represent an exalted name of God. According to Michael, no “defiled” creature can cross that boundary after having entered it, which suggests it is not intended for the magician to stand within but for a spirit to be summoned into (much like the Triangle of the Art described in the Goetia). Most modern Enochian practitioners consider this to be true of the seal’s circumference whether it is inscribed upon the ground or carved into wax and placed on the Holy Table.
Finally, you will need to make five of these seals in total. One, full sized (9 inches in diameter), is placed upon the Holy Table. The other four, made much smaller (Dee’s were about 5 inches in diameter), are to be placed on the ground so the legs of the Holy Table can rest upon them.
The Holy Table of Practice 102
“And thou shalt make an altar of shittim wood, five cubits long, and five cubits broad; the altar shall be foursquare: and the height thereof
shall be three cubits.” (Exodus 27:1)
Figure 44: The Top of the Holy Table
The Enochian Holy Table or Table of Practice (or Table of the Covenant) provides a sacred space for the invocation of angels. According to Dee’s records, it is an “instrument of conciliation”—which means that it reconciles the human/earthly state with the pure state of the angels. Along with the other Enochian magickal tools, it creates a pocket of shared space within which both human and angel can exist and hold a conversation.
Such tables were not uncommon to Western occult literature, where they were routinely used for the invocation and skrying of angels and other spirits. Skrying tables very similar to Dee’s version can be found in the Almadel of Solomon, the Pauline Arts, and even Trithemius’s Art of Drawing Spirits into Crystals, all of which seem to have had a direct influence upon the design and use of the Enochian holy table.
There is also, as we shall see, a notable relationship between this table and the force of Mercury. Mercury is the traditional planet of both magicians and angels (who are messengers, after all). Thus, one finds a similar focus upon Mercury in the Key of Solomon the King, where it is described as the force of all communication, magick, divination, and summoning of spiritual entities.103 It has just this meaning in relation to the Enochian Holy Table as well.
There are, in fact, two Holy Tables found in Dee’s journals. The second version is the one pictured in figure 44. The original design is missing from Dee’s records. We only know that its border contained both “characters and names”104—which suggests it was similar to the skrying table described by Trithemius.105 However, an angel later informed Dee that the characters and names were “devilish” and must be removed. He replaced them with the names of the Heptarchic kings and princes—all with the initial letter B removed. (Instead, a single B is written upon each of the four corners.) The letters in the 3 ✕ 4 box in the center of the table are likewise drawn from the names of the kings and princes.106
Making and Using the Holy Table
Figure 45: Dimensions and Measurements of the Holy Table
The holy table must be 3 ✕ 3 feet wide and 3 feet tall, thus forming a perfect cube. It must be made of “sweetwood,” though there has been some debate over exactly what that term means. In Dee’s lifetime (roughly the same as Shakespeare’s), the word “sweet” was most commonly used to indicate taste rather than smell. (The term for a pleasant smell was “odoriferous.”) Thus, it is possible—perhaps even likely—that the Holy Table should be made with a sweet-tasting wood—perhaps a syrup or fruit wood such as maple, apple, or cherry. On the other hand, there are rare instances of the word sweet indicating smell at that time (at least one of which appears in Shakespeare), so it remains slightly possible that a sweet-smelling wood such as cedar was intended. By the time antiquarians wrote descriptions of Dee’s own Holy Table, they noted that it had no scent.
The design and characters on the tabletop must be painted with yellow (or gold) oil paint, using oil that has been used in a church (and thus, we must assume, blessed by a priest). The outer border containing the letters should be one inch broad, and the dimensions of the 3 ✕ 4 grid in the center should be 6 ✕ 6 inches.
In the center is placed the large wax Seal of the True God, and four smaller versions of the seal—also waxen—are placed under the boxes to make the “feet” of the table. In fact, the boxes are optional, and the legs of the table can stand directly upon the smaller seals, keeping it from touching the ground. However, if you wish to keep the weight of the table from damaging the lesser seals, you may include the square feet as pictured in the diagram. These are simply small boxes with a top and no bottom, placed directly over each of the lesser seals so that the table legs rest upon the boxes instead of on the wax. Just remember to shorten the table’s legs by the height of the box-feet so the whole remains three feet tall.
The seven Ensigns of Creation must also be used with the Holy Table. You have a choice between either inscribing them upon plates of purified tin107 or painting them directly upon the Holy Table with the consecrated yellow or gold paint. If you inscribe them into tin plates, you have the option of leaving them off of the table and only bringing out the one you need to use at any given time. Otherwise, you can place (or paint) all seven of them upon the table, surrounding the Seal of the True God, one at each point of the seal’s large heptagram, about seven inches inward from the outer border of the table. They should be placed in proper order, starting with the Ensign of Venus at the top and moving clockwise to the Ensigns of Sol, Mars, Jupiter, Mercury, Saturn, and finally the Ensign of Luna.108
At one point, Dee asked if the lettering of the seven ensigns should be transliterated into Angelical characters. The archangel Uriel replied, “Into their proper characters.” Elsewhere in the journals, the angels did use the term “proper characters” to refer to Angelical, so it is possible Dee was meant to transliterate the letters on his ensigns. However, the ensigns happen to contain both upper- and lowercase lettering, which Angelical does not recognize. This may be why Dee never bothered to transliterate the letters of his own ensigns. I chose to follow Dee’s lead in this, leaving them with English characters.
When the Holy Table is put to use, it should stand upon a red silk cloth that is two yards square. Upon the table rests a long white tablecloth, also made of silk. The Seal of the True God and the seven ensigns are placed upon the white cloth, then the whole is covered with a long mixed-color silk tablecloth with a tassel at each corner.109 (Such mixed colors—known as pied color, or peacock, in alchemy—are traditionally associated with Mercury, and thus further highlight the table’s function of reconciliation and communication with the angels.)
The Angelic Skrying Stone
“One thing yet is wanting: a meet110 receptacle...There is yet wanting a stone...One there is, most excellent, hid in the secret of the depth... In the uttermost part of the Roman possession.” (the angel Carmara, November 21, 1582)
The crystal ball, or shewstone, is perhaps the most famous magickal tool associated with Dee and Kelley. However, there has been some confusion over the skrying receptacles used by the men to skry the angels—not only over which crystals were actually used but also over exactly how they were used.
There are, in fact, three skrying receptacles associated with Dee’s work. The first was an obsidian mirror (a common magickal mirror of the period) that we still have in the British Museum today. Several books about Dee have claimed he used the obsidian mirror in his Enochian work with Edward Kelley; however, none of Dee’s records indicate that this was the case. Instead, Dee seems to have made use of two specific crystals in his Enochian work: one was his own clear crystal shewstone and the other was a crystal lens he claimed to have received from an angel. These two crystals are often confused with one another in texts about Dee’s magick.
Figure 46: Dee’s Framed Shewstone
The Framed Shewstone 111
The first crystal ball we see in Dee’s journals is pictured above: a simple crystal sphere set into a metal frame with a cross on the top. Many sources have claimed that Dee received this crystal directly from an angel, but this is not the case.112 Dee states in the record that he received the shewstone as a gift from a (human) friend.
In the very first skrying session recorded in his Five Books of Mystery, Dee used this crystal ball in the invocation of Annael. He asked the archangel if any angel was specifically attached to the crystal and was informed that Michael was bound to it. Later, he learned that there were actually four angels attached to the stone: Michael, Gabriel, Raphael, and Uriel.113 These four archangels, then, delivered the entire Enochian system of magick via the agency of that shewstone.
What is important here is that Dee did not simply use any old crystal in his magick. His crystal was dedicated strictly to the angels with whom he wished to work. He was instructed to place the shewstone upon the Holy Table, above the silk cloths and directly in the center of the Seal of the True God. Plus, he was to open his window and allow the rays of the sun to shine directly into it.114
Having said the above, I should also point out that this shewstone was never listed as an indispensable tool for Enochian magick.115 The crystal ball was simply the preferred method of skrying for Dee and Kelley, and it was quite traditional in the Solomonic texts known to them. I see little reason why another skrying receptacle couldn’t be used—a magick mirror, a chalice of wine, a candle flame, incense smoke, etc., or even no device at all (beyond the Holy Table and its Seal of the True God). It may be a matter of personal preference or something the angels have directed you to use. Still, the crystal ball is certainly traditional to both Solomonic and Enochian angel magick.
The Crystal Lens 116
The second crystal associated with Dee’s Enochian magick is the one famously given to him by an angel. It was first mentioned relatively late in the Five Books, on November 21, 1582 (see the quote on page 129), and it has no relationship whatsoever to the framed shewstone that sat on Dee’s Holy Table. According to Kelley, the angel Carmara indicated that Dee should look for something near his western window. Kelley saw a small angel (about the height of a child) by the window, holding forth the crystal as if offering it to Dee. When Dee approached the same window, he saw the actual crystal sitting on some mats by his books.
This crystal was described as being the shape of an egg, somewhat less than the size of the palm of Dee’s hand. Later, in the appendix to the Five Books, it is described as about half an inch thick, so it was really more like a lens than a ball. Dee was instructed to inscribe the names of five planetary angels in a circle upon the back of the Holy Lamen.117 The crystal lens was to be set (or affixed) within that circle of names. There, Dee was told he would be able to “see the state of God’s people through the whole earth,” which likely indicates its use with the Parts of the Earth system.
The Holy Lamen 118
“And thou shalt make the breastplate of judgment with cunning work...And thou shalt put in the breastplate of judgment the Urim and the Thummim; and they shall be upon Aaron’s heart when he goeth in before the Lord.” (Exodus 28:15, 30)
A lamen is a talisman worn by a mage as a symbol of spiritual authority, usually suspended around the neck. The symbols and/or characters upon such a lamen represent a signature of divine authority, indicating that the mage speaks on behalf of the highest god (not unlike a badge carried by a law enforcement officer). Such lamens were (and are) common in the Western occult tradition; countless grimoires include some form of lamen to be worn or carried by the aspirant in order to encourage obedience from the spirits. In fact, it is perhaps the single most common element shared by Medieval and Renaissance occult texts.
The Enochian Holy Lamen pictured opposite is intimately connected to the Table of Practice. Like the table, it is intended to reconcile the nature of the human operator with the pure state of the angels. Whereas the table is an instrument of “conciliation,” the lamen is an instrument of “dignification,” elevating the state of the operator to a higher state worthy of angelic communication. Also like the table, the Angelical letters found upon it are taken from the names of the Heptarchic kings and princes. (The method is rather complex and will not be covered here.) Finally, again like the Holy Table, there were two forms of the lamen given in Dee’s journals, the original being declared “false and devilish” by Uriel, who replaced it with the version you see here.
Figure 47: The Front of the Holy Lamen
When Dee recorded the original form of the lamen, he was told to wear it upon his chest, likely suspended around his neck—the most common location prescribed for such lamens in the grimoires. More than likely, this convention arose to mimic the breastplate worn by the High Priest of Israel (Exodus 28).
Later, the archangel Michael amended this instruction, telling Dee it must be “hanged unseen in some scarf.” This is similar to an instruction found in the Goetia where the lamen called the Hexagram of Solomon is pinned to the skirt of one’s robe and covered with a linen cloth. Once the infernal spirits appear, the lamen is revealed to compel them to take human form and render obedience. However, nothing is said in Dee’s journals about revealing the Holy Lamen once the angels appear. Following the directions as given, one would simply wear the lamen on the chest and cover it with a piece of cloth (such as white linen or silk). However, I admit there still exists the possibility that it was intended to be revealed upon the angels’ appearance.
Finally, we have already discussed the small crystal lens that Dee apparently received from an angel and was told to use with the Holy Lamen. He was instructed to inscribe the names of five planetary angels in a circle on the back of the lamen: Zedekiel, Madimiel, Semeliel, Nogahel, and Corabiel (the angels of Jupiter, Mars, Sol, Venus, and Mercury). It is not clear why the angels of Saturn and Luna are excluded. The crystal lens, then, was to be placed or affixed in the center of that circle of names, where the aspirant may “see the state of God’s people through the whole earth.”119
Figure 48: The Back of the Holy Lamen
Creating the Holy Lamen
The construction of the Holy Lamen is very simple. It can be drawn on clean white paper—and I would add that such paper should not be recycled or previously used. For durability, I suggest making it on white card stock. Its size is four inches square. No mention is made of color for the lettering; I suggest black to contrast with the white paper, or even gold ink or gold leaf to highlight its lofty, holy nature.
Make sure you obtain your crystal lens before drawing the names upon the back, so that you can measure the size of the circle properly. Rather than attempting to glue the lens onto the lamen, I would keep them separate. For skrying rituals, the lamen can be placed facedown upon the Holy Table and the lens can be placed within the circle of names.
The Ring of Solomon 120
“Without this, thou shalt do nothing. Blessed be His Name, that
compasseth all things: Wonders are in Him, and His Name is WONDERFUL: His Name worketh wonders from generation to generation.”
(the archangel Michael, March 14, 1582)
Figure 49: The Enochian Ring of Solomon
Legend tells us that King Solomon was given a magickal ring by the archangel Michael. This ring had the power to expel and/or bind demons and allowed the king to fly through the air, speak with animals, and perform any number of miracles. The actual design of the ring seems to change depending on who is telling the story. It was either made of brass and iron or gold or silver. Some say it was set with four powerful stones, one given to Solomon by each of the angels of the four corners of the world. Other legends insist that a mythical worm called the Shamir was housed inside the ring. This worm was said to be able to burrow through solid stone and was thus the instrument used to cut the stones of the Holy Temple without iron tools.
Yet other legends attribute the power of the ring to an occult symbol inscribed upon it; older stories identify it as a pentagram, while more recent legends insist it was the hexagram (or Star of David, aka the Seal of Solomon). In the grimoires, such Seals of Solomon take various forms—such as concentric rings, pentagrams, hexagrams, or other geometric symbols—and usually include various sigils and names of God and/or angels. Quite often they are used along with (or are one and the same with) the lamens intended to render the spirits obedient.
When Dee established contact with Michael, one of the first magickal tools revealed by the archangel was the ring that he had once given to King Solomon. He affirmed that Solomon had worked all of his miracles through the agency of the ring and that Dee would do likewise, as you can see in the quote from archangel Michael on page 135.
Michael’s words are a direct reference to the divine name PELE that appears on the bezel of the ring. It is a Hebrew word meaning “wonder” or “miracle,” and therefore as a title of God it indicates a worker of miracles. It is mentioned in Agrippa’s Three Books: “The Lord sayeth, My name which is Pele, signifieth with us, a worker of miracles, or causing wonders.”121 This is quite fitting for a magickal ring that promises to help one produce miracles.
Also note the L and V that appear in the design. These letters are taken from the Ensign of Creation attributed to the sun and Sunday, which are governed by Michael. In the Angelical language, L (or El) means “the First” and is a name of God. LV (or Lu) means “from One”—likely indicating something that comes directly from God.
The construction of the ring is very simple. It should be made of gold and needs only a simple band and a square bezel. Dee was told by Michael to make it of the purest gold available, which in his lifetime was not nearly as pure as we can make it today. Our 24-carat gold is very pure but too soft for wearing as jewelry. Eighteen carats (¾ pure gold) would likely be workable, though 14 carats would be sufficient and more durable. The letters and figures shown in figure 49 should be engraved upon its face. The ring must be worn for all magickal operations.
A Note about Consecrations
“But all the silver, and gold, and vessels of brass and iron,
are consecrated unto the Lord: they shall come into the treasury of the Lord.” (Joshua 6:19)
One thing that is notably missing from Dee’s records are instructions for the consecration of the magickal tools and furniture. The angels only mentioned such consecrations once: when they told Dee that all things used in the creation of the Book of Loagaeth must be purified beforehand. They gave no instructions for how to do this; however, several details of the Gebofal system suggest a close relationship to the Key of Solomon, so it is likely that we can turn to that book for instructions on the consecration of pens, papers, inks, etc.
From there, we could assume that “standard grimoiric procedures” could be followed in the consecration of all the Enochian tools. You can find useful instructions in The Heptameron, Fourth Book of Occult Philosophy, and Magus. I would suggest checking into my own Secrets of the Magickal Grimoires (chapters 6, 9, and 11) for comprehensive instructions on the creation and consecration of magickal tools.
To summarize the process briefly here: you will need incense such as frankincense or “church” incense, along with a censer and coals. You will also need to acquire or make a small amount of holy water, and if you have prepared the Solomonic holy water sprinkler (or aspergillum), all the better. You will also need a candle—either a white candle or one made of unbleached beeswax. No consecrations are ever performed without the presence of fire.
You will also need to find psalms or other sacred scripture—or write your own prayers—that are appropriate to each object you will consecrate. For example, in the consecration of the Holy Table, you can mention the altar in the Temple of Solomon. When consecrating the Holy Lamen, you might mention the breastplate of Aaron. (For examples, note the scriptural and other verses I have included at the heads of many chapters and subsections of this book.) Today it is quite easy to use keyword searches in online bibles and other sacred scripture, apocrypha, etc., in order to find prayers suitable for your needs.
You will need to ritually prepare and wash yourself beforehand. Then cense and sprinkle each magickal tool while reciting the related psalms, scripture, or prayers. You should also cense and sprinkle the entire room or sacred space in which you will be working. I have found that Solomon’s consecration of the Holy Temple (1 Kings 8: 23–53) is quite appropriate and powerful for blessing a ritual or prayer chamber.