Symbolism of Brigid’s Cross

Symbolism of Brigid’s Cross

This contains ritual gathering of materials, construction of the various crosses, uses of them and disposal of them. I have compiled this from numerous sources. The majority of my post is from this rearranged article (unless otherwise stated)
by Annie Loughlin
http://www.tairis.co.uk/celebrations/making-the-cros-bride/

brigids-crosses-t-g-f-paterson-harvest-home-the-last-sheaf-1975
Brigid’s Crosses T G F Paterson Harvest Home The Last Sheaf (1975)
irish-brigit-s-crosses-from-e-e-evans
Irish Briget’s Crosses from E E Evans
various-brigid-crosses
Various Brigid Crosses

Traditionally it’s straw or rushes that are used to make the crosses (or sometimes wood), but folklorist Thomas Mason has also noted the use of leather, grasses, wire, and cloth.(4) Today anything that’s workable will do: Pipe cleaners, wool, lollipop sticks, paper, ribbons, raffia… All kinds of things. There is also a tradition of drawing the crosses onto the side of buildings or onto the fore-arm or forehead of each person within the household, using a charred stick,(5) and smaller crosses (often of less traditional styles) made be worn by
children.(6)

In making the crosses, where rushes are used it’s said that they should be pulled and not cut.(14) It’s clear here that the reason is that to cut them means exposing them to iron, which the spirits have an aversion to. (You can cut the ends to size using your fingernails or a sharp plastic or wooden knife to avoid using iron – to do so, it’s said, means the Good Folk and Brìde will stay away and they won’t give their blessing.) They are usually collected during the day on January 31st, and are then left outside until the evening when they’re brought in with great ceremony, although who does this may vary. In some parts of Ireland it’s a member of the family who goes to gather the straw or rushes (usually in secret – no one must know what they’re doing), and it may be left to the man of the house to bring the materials in.(15) In other parts (such as Galway and Aran) it’s traditional for the Biddy Boys to collect the rushes and then they bring them round to the houses and ask to be let in, in the name of Brìde:

Going up to the door, the boys shout seven times, “Leig asteach Brighid” (Lig aschiŏkh’ Breej), “Let Bridget enter,” while to each demand those within reply, “Leig a’s céad fáilte romhad” (Lig os caedh fawlcha roath), “Enter and a hundred welcomes before you.”(16)

fermanagh-biddy-boys
Fermanagh biddy boys

In still other parts of Ireland (such as Donegal), it’s girls who have the job of bringing the rushes in, and they take on the role of Brìde themselves. In this case it’s usually the eldest daughter who does this, unless there is a younger child who shares her name with the goddess (or saint, depending on your point of view).(17)

The weaving must be done sunwise, from left to right.

All in all there are at least 23 different forms of cros Bríde recorded by T. G. F. Paterson, 7 accounting for the different shapes, styles, and materials that might be used in making them, though there are surely many more than that (I’ve seen some examples with only two arms – essentially a v-shape – that aren’t listed by Paterson). Sean Ó Duinn, however, groups them all into seven main categories:

The four-armed or ‘swastika’ type
The three-armed type
The diamond or ‘lozenge’ type
The interwoven type
St Brigid’s Bow
St Brigid’s bare cross
The Sheaf cross (8)

I have listed the types in order of symbolism

~
Number 1

The Diamond or ‘Lozenge’ type
God’s Eye

willow-gods-eye-newgrange-county-meath
Willow Gods Eye Newgrange County Meath

It has been recorded that where all the different types were known, they were used in different ways. The lozenge cross was hung in the house… Each of them was sprinkled with water taken from the nearest well dedicated to St. Brigid, a gesture which ensured the safety of the occupants of the building in question be they animal or human.
Olive SHARKEY in the 1996 #2 issue of “Irish Roots” magazine published in Cork
For her profile and book: http://www.obrien.ie/olive-sharkey https://www.obrien.ie/ways-of-old
http://archiver.rootsweb.ancestry.com/th/read/IrelandGenWeb/2011-02/1296764871

How to Make

Instructions for even very small children (with an adult to supervise):
http://www.auntannie.com/FridayFun/GodsEye/

Symbolism
Irish Gaelic suil, which means “eye,” i.e. the Sun, the eye of the heavens.
Eric Partridge, Origins: A Short Etymological Dictionary of Modern English, entry “Sun”

Brighid is a Sun deity.

~~
Number 2

V Shape, Chevron, Welsh Border Fan

v-brigit-s-cross-from-e-e-evans
V Shaped Brigit s Cross from E E Evans
welsh-border-fan
Welsh Border Fan
corazon-de-trigo-heart-of-wheat
Corazon de Trigo or Heart of Wheat

“(I’ve seen some examples with only two arms – essentially a v-shape – that aren’t listed by Paterson).”
T. G. F. Paterson, ‘Brigid’s Crosses in County Armagh,’ in Journal of the County Louth Archaeological Society
Volume 11, No. 1, 1945.
Annie Loughlin
http://www.tairis.co.uk/celebrations/making-the-cros-bride/

How to Make
This maybe it: a Welsh Border Fan: http://colorful-crafts.com/straw-weaving-welsh-border-fan/

Symbolism

“A Chevron is an ancient symbol, appearing as a V-shape.
Generally the chevron symbol represents dutiful service given freely.
This Celtic symbol can also represent the peaks and valleys in our lives and it also serves as a symbol of protection as it’s peak and “sloped arms” are reminiscent of a roof.”
https://www.buildingbeautifulsouls.com/symbols-meanings/celtic-symbols-and-meanings/

Or it could be the Gnostic Law of Opposites. This is the doctrine of bringing order out of chaos, of reconciling the two opposites, evil and good, light and dark.

Dutiful Service Given Freely
“The Vita Brigitae: Life of Brigid, written by Cogitosis – who may have been a Brigidine monk in Kildare in the latter half of the 7th century – is the earliest written record. In the Life, the main emphasis is on Bridgit’s faith, her healing powers, her skill with animals, her hospitality, her generosity, and, especially, her concern for the poor, the oppressed, or the embarrassed.”
[just to clarify this is Saint] Bridget and Kildare article
by Sister Rita Minehan
in Brigit: Sun of Womanhood
Edited by Patricia Monaghan and Michael McDermott
Published by Goddess Ink Ltd, Las Vegas, 2013

I view the V shape as duality coming from the single source Dea, She who is Spirit.

~~~

Number 3
Three Arm Cross or Triskele

brigids-cross-from-county-donegal
Brigid’s Cross from County Donegal

“The most primitive form is the three arm cross or triskele, which is associated with cattle, and is placed in the byre or cowshed for protection. (The wealth of a person in Celtic society was based on cattle not land.) The triskele was not blessed by the Church.”
http://www.crosscrucifix.com/brigid2.htm

In Scotland she was invoked as “Milkmaid Bride,” or “Golden-haired Bride of the kine,” patroness of cattle and dairy work. Medieval Christian art often depicts her as holding a cow, or carrying a pair of milk-pails.
http://www.chalicecentre.net/february-celtic-year.html

“Apparently cow’s milk was the original communion but was eventually banned by the Trullan council in 692. Milk, along with honey, was given to the newly-baptised as a symbol of regeneration.”
https://www.whitedragon.org.uk/articles/brighid.htm

st-brigid-cow-and-churns-unattributed
St Brigid with book, cow, milk pail (bucket) and churn (unattributed)

“She is sometimes mentioned as a triple goddess i.e. three sister goddesses named Brid; one goddess associated with poetry and traditional learning in general; one associated with the smith’s art; and the third associated with healing.”
http://kildarelocalhistory.ie/kildare/history-of-kildare-town/saint-brigid/

Different areas tend to favour different styles of cross, with the three-armed version, for example, being centred around the north of Ireland in parts of Donegal, Armagh, and Antrim.(12)

Olive SHARKEY on St. Brigid’s Crosses / Ritual of ‘Turning the Sod’ [sod is a clump of soil]

“The three-legged cross was widely known in the NW of Ireland, and in most parts of Ulster, and always reminded Olive of the Isle of Man symbol.”
Olive SHARKEY in the 1996 #2 issue of “Irish Roots” magazine published in Cork
For her profile and book: http://www.obrien.ie/olive-sharkey https://www.obrien.ie/ways-of-old
http://archiver.rootsweb.ancestry.com/th/read/IrelandGenWeb/2011-02/1296764871

How to Make

To make a three-armed triskele type cross, the principle is pretty much the same as with the four-armed cross, except you start off with two rushes, both of which are folded in half (only one is folded in the four-armed version).

See photo sequence on: http://www.tairis.co.uk/celebrations/making-the-cros-bride/

Symbolism

I view this symbol as representing the Deanic Holy Trinity / Triunity.

~~~~
Number 4

The four-armed or ‘swastika’ type

4-arm-brigid-cross
Brigid’s Cross sunwise four-armed or ‘swastika’ type

For the St. Brighid Cross, instead of a circular sun, we can imagine sun rays.”
http://www.seiyaku.com/customs/crosses/brighid.html

“Of them all, it’s the four-armed ‘swastika’ version that’s perhaps the most common and recognisable type of cross of them all because of its use in corporate logos by a number of different companies in Ireland (including the Department of Health).13”

Olive SHARKEY on St. Brigid’s Crosses / Ritual of ‘Turning the Sod’ [sod is a clump of soil]
“Some historians tend to refer to the standard cross as a swastika, but it lacks the essential element of the swastika, that of the sharp bends on the arms.

It has been recorded that where all the different types were known, they were used in different ways. …the standard form in the cow-byre… Each of them was sprinkled with water taken from the nearest well dedicated to St. Brigid, a gesture which ensured the safety of the occupants of the building in question be they animal or human.”
Olive SHARKEY in the 1996 #2 issue of “Irish Roots” magazine published in Cork
For her profile and book: http://www.obrien.ie/olive-sharkey https://www.obrien.ie/ways-of-old
http://archiver.rootsweb.ancestry.com/th/read/IrelandGenWeb/2011-02/1296764871

How to make
Simple illustrations: https://fisheaters.com/stbrigidscross.html

Symbolism
I have 2 ideas.

It symbolises Supernal Sun, Celestial Mother God / Madria Dea

Also
From: https://mydevotionstodea.wordpress.com/2016/12/31/madrian-thoughts-on-manifestation-and-the-cross-symbol/

I view the St. Brighid’s Cross much as David Kay views the swastika, symbolising the turning of the world from the impression of the spirit / Supernal Sun.

The square centre meaning “In fact, when I see squares in my readings/interpretations, I always think of foundations (like homes, buildings or even plots of earth squared off for gardening). Squares are symbolic cues for me, and they speak to me about hearths, homes, matter and materialistic concepts. …In the Chinese way of thought, the square is a symbol for earth with the circle representing the shape of the heavens. This lends further weight to the earthy, grounded nature of the square symbol meaning. …Indeed, our ancestors transitioned from nomadic life by exchanging tents and teepees (circular) for solid square-based structures.”
www.whats-your-sign.com/square-symbol-meaning.html

~~~~~
Number 5

St Brigid’s Bare Cross

simple-brigit-s-cross-from-e-e-evans
Simple Briget’s Cross from E E Evans

The “bare cross” defined by Ó Duinn may also be simply referred to as the Latin or Greek type – a cros Bríde that most closely resembles the Christian cross.

Symbolism

David Kay in https://mydevotionstodea.wordpress.com/2016/12/31/madrian-thoughts-on-manifestation-and-the-cross-symbol/

“A vertical line is the reflection of the spirit onto the material plane, creating a cross. Where the vertical line touches the horizontal line is the quintessence, the reflection of the spirit into matter, and contains all the possibilities of manifestation.

The horizontal reflection of the vertical line creates the cross of matter, the four arms being the four elements. At the centre, where the four arms meet, they are in equilibrium, reflecting the spirit. The four arms are the reflection of the spirit into the separativeness of manifestation, moving further away from each other as the move further away from the centre.”

I would add that the four arms are the directions and elements:
The Madrian system is different: East is Water, South is Fire, West is Earth and North is Air, with the central point being She who is Spirit, Dea.

~~~~~~
Number 6

Bogha Bhride (Brigid’s Bow)

brigids-cross-from-county-derry
Brigid’s Cross from County Derry. This is 1 bundle, divided into 2. The 2 divided into 5 strands and the combined interlacing being 10. With 3 on top and 2 underneath or 2 on top and 3 underneath.
st-brigid-interlaced-cross
A complex St Brigid interlaced cross. This is 1 bundle, divided into 2 . The 2 divided into 7 strands and the combined interlacing being 14. With 4 strands on top and 3 underneath or 3 on top and 4 underneath.

Olive SHARKEY on St. Brigid’s Crosses / Ritual of ‘Turning the Sod’ [sod is a clump of soil]
“A much more complicated cross was known in a few parts of Connaught, also in Munster and parts of Ulster, fashioned by interlacing strands of straw, rushes or reed in a criss-cross type pattern.

It has been recorded that where all the different types were known, they were used in different ways. The interlaced variety in the stable. [Donkeys were common]. Each of them was sprinkled with water taken from the nearest well dedicated to St. Brigid, a gesture which ensured the safety of the occupants of the building in question be they animal or human.”
Olive SHARKEY in the 1996 #2 issue of “Irish Roots” magazine published in Cork
For her profile and book: http://www.obrien.ie/olive-sharkey https://www.obrien.ie/ways-of-old
http://archiver.rootsweb.ancestry.com/th/read/IrelandGenWeb/2011-02/1296764871

I am guessing that this is “a cross made with a “binding knot,” which acts as a barrier to evil spirits.”
As I cannot find an illustration alongside the description of a Bogha Bhride / Brigid’s Bow.

“This shows affinities with the Swabian and Tyrolean magical protector known as a Schratterlgatterl, which is an interweaving of a number of sticks employed as a barrier beyond which evil spirits cannot pass.”
http://www.celticcultureblog.tk/cross/craft-techniques-and-celtic-ornament.html

Symbolism

this-cross-was-woven-by-nan-rooksby-rohan-berkeley-ca-to-match-an-irish-folk-design
This cross was woven by Nan Rooksby Rohan, Berkeley, CA, to match an Irish folk design

In it’s simplest form (often created in schools), it starts as one bundle divided into two. Then each of these two are interwoven in three strands.
I see this as (1) Dea Matrona, the Great Mother emanating into (2) Dea Madria, the Celestial Mother and then emanating into (3) Dea Matria, God who is immanent (in creation).

As it’s final form it is 2 bundles of three strands interwoven. The number 6, which in a cross symbolises matter and relates to the wheel of Moira (karma) in Madrian thealogy.

To me the 2 meaning duality with 3 meaning Divinity.
She who is Spirit, Dea threaded through matter and our incarnate life.

The more complex forms again relate to Sacred Numbers.
Some of which I have information about. I am writing a future article about The Celestial Janyati and Sacred Numbers.

~~~~~~~
Number 7

The Sheaf Cross

county-waterford
Interwoven Type St Brigid’s Cross from County Waterford

“In partnership with the goddess Brìghde, the Cailleach is seen as a seasonal deity or spirit, ruling the winter months between Samhainn (1 November or first day of winter) and Bealltainn (1 May or first day of summer), while Brìghde rules the summer months between Bealltainn and Samhainn. Some interpretations have the Cailleach and Brìghde as two faces of the same goddess, while others describe the Cailleach as turning to stone on Bealltainn and reverting to humanoid form on Samhainn in time to rule over the winter months. Depending on local climate, the transfer of power between the winter goddess and the summer goddess is celebrated any time between Là Fhèill Brìghde (1 February) at the earliest, Latha na Cailliche (25 March), or Bealltainn (1 May) at the latest, and the local festivals marking the arrival of the first signs of spring may be named after either the Cailleach or Brìghde.
McNeill, F. Marian (1959). The Silver Bough, Vol.2: A Calendar of Scottish National Festivals, Candlemas to Harvest Home. William MacLellan. pp. 20–21. ISBN 0-85335-162-7.
https://en.wikipedia.org/wiki/Cailleach

Of these, Paterson has noted that some of the plaited versions (the Sheaf Cross, as Ó Duinn calls them) have harvest knots fashioned into them, which are made from the last sheaf cut from the field at harvest-time (called the Cailleach or ‘Cailliagh’).(9) The “interwoven type” generally consists of several crosses worked together onto a larger frame, as illustrated here from Henry Crawford:

interwoven-type-st-brigids-cross-from-county-roscommon
Interwoven Type St Brigid’s Cross from County Roscommon

From Henry Crawford’s ‘Crosses of Straw and Twigs from County Roscommon,’ in JRSAI Vol 38 No. 4, (1908)

Some examples of these interwoven crosses have even more crosses on them – Mason reports as many as fourteen in one example he saw during his research in the field – and the thought here is that “the more frequent the repetition, the greater and surer will be the blessing which ensues.”(10)

Symbolism

The County Waterford and County Roscommon illustrations are quincunx. This is a geometric pattern consisting of five points arranged in a cross, with four of them forming a square or rectangle and a fifth at its center.[1] It forms the arrangement of five units in the pattern corresponding to the five-spot on six-sided dice, playing cards, and dominoes.
[1] Webster’s Collegiate Dictionary, 10th ed., as quoted by Pajares-Ayuela (2001).

See also the 5 provinces of Ireland.

https://en.wikipedia.org/wiki/Quincunx

In Madrian thealogy these are the 4 elements and directions with the 5th being the quintessence Spirit in the centre.

Blessing the house

…in Co. Leitrim a description of the rites involved tells us:

When the cross was made the head of the house went round the house with it and placed it in every window and door round the house and said at each entrance or window, “St Brigid save us from all fever, famine and fire.” He then came in and placed the cross over the kitchen door.(19)

Although not specified, this was presumably carried out deiseil (sunwise) about the house, and the description shows that it is clearly a saining rite. Here, instead of water or a rowan charm, it is simply the cros Bríde itself that provides the focus and agent for blessing and protection upon the household.

The old cross from the previous year is traditionally moved to make way for the new cross. In most cases the old cross is simply moved up to the rafters or to an outbuilding where they then accumulate.(23) When a newlywed couple starts their married life in a new home it’s traditional for them to clear out the old crosses and start afresh. In many traditional houses, the number of crosses up in the rafters would show how many years the couple had been married, but in some parts of Ireland crosses that have begun to rot or are no longer able to stay in one piece may be taken down and buried out in the field to impart Brìde’s blessing on the crops that grow there (or the livestock who feed there). Alternatively, they are crumbled into dust between the fingers and spread over the land, or else they may be burned.(24) According to Paterson, the reason for their being burnt isn’t clear, but it may be connected with the tradition of Brigid’s perpetual flame.(25) Regardless of why this is done, the ashes may be kept for healing purposes for both livestock and people.(26)

Gifting

…the crosses may also be made as gifts; to give a cros Bríde to a friend or loved one is to give them a blessing of Brìde herself and it’s considered to be a great sign of affection.(30) The friends of newlyweds would place a cross in the thatch of their new home as they moved in, to bless the couple in their new life together.(31)

References for http://www.tairis.co.uk/celebrations/making-the-cros-bride/

(1) Translating to “Brigid’s Cross” and “Brigid’s Bow,” respectively. Koch, Celtic Culture: A Historical Encyclopedia, 2004, p959.
(2) Evans, Irish Folk Ways, 1957, p268; Ó Duinn, The Rites of Brigid, 2005, p157; Danaher, The Year in Ireland, 1972, p18.
(3) Henry Crawford, ‘Crosses of Straw and Twigs from County Roscommon,’ in JRSAI Vol 38 No. 4, 1908, p395.
(4) If there’s a traditional wood (or woods) that’s used – one might presume it would be a protective wood such as rowan or birch, for example – it’s not usually specified by the folklorists writing about the crosses. Henry Crawford, however, noted that “they are sometimes made of peeled willow twigs…” I presume willow would be an appropriate wood of choice because it’s very flexible and easy to work with, but Crawford’s reference to it doesn’t mean that it’s the only wood that’s used and there’s no mention of whether its use indicates a deeper significance. O’ Sullivan gives examples of several multi-form crosses that use bog-wood – wood recovered from bogs, so of no specific type, in his article. In general, the preference for straw or rushes seems to be more to do with availabilty (straw being used in predominantly agricultural areas, rushes in predominantly pastoral) so presumably wood it the same. See Mason, ‘St Brigid’s Crosses,’ in The Journal of the Royal Society of Antiquaries of Ireland Volume 75 No. 3, 1945, p160; Crawford, ‘Crosses of Straw and Twigs from County Roscommon,’ in JRSAI Vol 38 No. 4, 1908, p395; O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, Plate 2a.
(5) Mason, ‘St Brigid’s Crosses,’ in The Journal of the Royal Society of Antiquaries of Ireland Volume 75 No. 3, 1945, p162.
(6) O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, p80.
(7) Paterson, ‘Brigid’s Crosses in County Armagh,’ in Journal of the County Louth Archaeological Society Volume 11, No. 1, 1945, Plates I and II.
(8) Ó Duinn, The Rites of Brigid, 2005, p121.
(9) ‘Such a cross presents to the mind a relationship with the harvest and makes one wonder whether Brigid took over some of the attributes of the Calliagh, besides those of her pagan namesake.’ Paterson, ‘Brigid’s Crosses in County Armagh,’ in Journal of the County Louth Archaeological Society Volume 11, No. 1, p19; Mason, ‘St Brigid’s Crosses,’ in The Journal of the Royal Society of Antiquaries of Ireland Volume 75 No. 3, 1945, p166. The fact that there is an association between the Cailleach and Brìde here is very intriguing, especially considering their relationship in Scotland.
(10) Mason, ‘St Brigid’s Crosses,’ in The Journal of the Royal Society of Antiquaries of Ireland Volume 75 No. 3, 1945, p164.
(11) O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, p71; 80.
(12) Mason, ‘St Brigid’s Crosses,’ in The Journal of the Royal Society of Antiquaries of Ireland Volume 75 No. 3, 1945, p162.
(13) O’Riordan, ‘The Cult of St Brigid,’ in The Furrow Volume 2 No. 2, 1951, p91.
(14) Evans, Irish Folk Ways, 1957, p268; Ó Duinn, The Rites of Brigid, 2005, p157.
(15) O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, pp65-66.
(16) See Mooney, The Holiday Customs of Ireland, 1889, pp379-384.
(17) Mooney, The Holiday Customs of Ireland, 1889, pp379-384; O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, pp65-66.
(18) O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, pp65.
(19) O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, pp67.
(20) O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, pp67.
(21) O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, pp67.
(22) Mason, ‘St Brigid’s Crosses,’ in The Journal of the Royal Society of Antiquaries of Ireland Volume 75 No. 3, 1945, pp164-165.
(23) Paterson, ‘Brigid’s Crosses in County Armagh,’ in Journal of the County Louth Archaeological Society Volume 11, No. 1, 1945, p16.
(24) O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, pp68-70.
(25) 25 Paterson, ‘Brigid’s Crosses in County Armagh,’ in Journal of the County Louth Archaeological Society Volume 11, No. 1, 1945, p16.
(26) O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, p71.
(27) Writing in 1689: ‘I went abroad into the Country, where I found all the Houses deserted for several miles; most of them that I observed, had Crosses on the Inside above the Doors, upon the Thatch, some made of Wood; and others of straw or rushes, finely wrought; some Houses had more, and some less: I understood afterwards, that is the custom among the Native Irish, to set up a new Cross every Corpus Christi day; and so many years as they have lived in such a house, as many Crosses you may find; I asked a Reason for it, but the Custom was all they pretended to.’ O’ Sullivan, St Brigid’s Crosses,’ in Folk Life Volume 11 Issue 1, 1973, p62.
(28) As noted in the article on Là Fhèill Brìghde, Evans suggests the three-armed crosses are evidence of older type crosses stemming from pagan times, being reminiscent of the triskele, with the four-armed crosses being adopted during Christian times. There’s no hard evidence for this but the fact that the triskele just isn’t a cross (if the cross is supposed to represent a Christian cross) doesn’t make it seem like the most Christian of choices.

Mason, in trying to procure a triskele-type cross from a farmer, was met with a lot of resistance and excuses leading him to conclude that the triskele form had ‘greater significance’ than the four-armed type. He noted that the four-armed swastika type was usually found in the home while the triskele-type was found in the byre, but Ó Súilleabháin contradicts this, saying this seems to be the exception rather than the rule, and specific styles of cross do not appeared to be favoured for certain uses. Mason, however, feels that the reluctance to part with a triskele-type cross is evidence of their pre-Christian and therefore more potent and authentic significance. Evans, Irish Folk Ways, 1957, p268; Mason, ‘St Brigid’s Crosses,’ in The Journal of the Royal Society of Antiquaries of Ireland Volume 75 No. 3, 1945, pp162-163.
(29) Mason, ‘St Brigid’s Crosses,’ in The Journal of the Royal Society of Antiquaries of Ireland Volume 75 No. 3, 1945, p166.
(30) O’ Riordan, ‘The Cult of St Brigid,’ in The Furrow Volume 2 No. 2, 1951, p91.
(31) Concannon, ‘The Holy Women of the Gael,’ in The Irish Monthly Vol 45, 1917, p86.
(32) Mason,’St Brigid’s Crosses,’ in The Journal of the Royal Society of Antiquaries of Ireland Volume 75 No. 3, 1945, p162.
(33) See here.
(34) This is how I make them but O’ Sullivan describes starting off with one rush folded in half with the other bent into the angles of where the second and third arms will be. Having said that, he gives two methods for making the swastika-type, one of which involves starting off as I do here (and then following on to make four arms instead of three). As with just about everything else, traditions and methods vary and there’s no real wrong answer here. p76-77.

 

 

 

 

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The Moons of Brighid 1st Brighid / 23rd January 2017 – 28th Brighid / February 19th 2017

The Moons of Brighid

1st Brighid / 23rd January 2017 –

28th Brighid / February 19th 2017

Brigid by tattereddreams
Brigid by tattereddreams

Brighid:

Jan 27th : Dark Moon. (For the Great Mother).

Feb 1st: (4 days after the Dark Moon): Crescent Moon. (For the Holy Daughter).

Feb 11th: Bright Moon. (For the Celestial Mother).

http://www.calendar-uk.co.uk/lunar-calendar/january/2017/

http://www.calendar-uk.co.uk/lunar-calendar/february/2017/

Sacred Month of Brighid 23rd January – February 19th

Sacred Month of Brighid 23rd January – February 19th

 

St Brigid of Kildare by Joanna Powell Colbert
St Brigid of Kildare by Joanna Powell Colbert

Our predecessors in the Madrian faith named this month Brighde.

“Her name itself is written as Brighid, Brigid, or Bríd in the Irish, and Brìde in the (Scottish) Gaelic, and the other forms like Brìghde, Bhríde, and Brighidh are forms of saying, ‘of Brigid’, as in the Well of Brigid, Tobar Bhríde in Ireland, or Tobar Brìghde in Scotland.”

https://hereternalflame.wordpress.com/2015/11/13/a-gaelic-grammar-primer-to-her-name/

“In its most ancient form, the name was spelt with a final t, Brigit, and was Latinised Brigitta. From an early time, however, and down the ages, it was spelt Brigid; Latin form, Brigida.”
The Irish name ought to be pronounced with a hard <g>; that is, as “Brigg-id,”

However, the complicated matter of orthography is not ended at this point; for in Modern Gaelic—the language as spoken for the past seven centuries—the <g> becomes silent, and the name usually is spelt in Gaelic Brighid… with a pronunciation “Bree-id.” From this it will be seen how Kilbride and St. Bride’s are derived.

Accordingly, in writing English we adhere to Brigid as the correct historic and literary form. Let us pronounce it “Briggid,” although we often hear people nowadays, under the influence of the revived Irish language, saying “Breeid,” which is, as we have shown, fully permissible. In Munster, the pronunciation “Bride” has come into use, and often the name is written Bride, instead of Brigid. Since this development is native and natural, we can make no objection to it”
http://www.ewtn.com/library/MARY/BRIGID.htm
Pronounced BRIGG-id or BREE-id.
Brighid (from Irish brigh: “strength”; Celtic brig-o “high, mighty” from PIE bhrgh-nt- “high”). Exalted.
It is not “Fiery Arrow.”
I do not know why but she was also considered the Janya of Bridges, Gateways and Places of Passage. (see Jacqueline’s comment below: “She seems very connected to liminal spaces” Definition: “The word liminal comes from the Latin word limen, meaning threshold – any point or place of entering or beginning. A liminal space is the time between the ‘what was’ and the ‘next.’ It is a place of transition, waiting, and not knowing.” A Sacred space. https://inaliminalspace.org/about-us/what-is-a-liminal-space/ )

~~~

She is considered to be a Living Stream Goddess, as Her devotional cult has continued, unto this day, under the guise of St. Bridgit.

My favourite form of Dea.

~
Brigit be Bithmaith

Brigit,
eternally good woman,
bright, golden,
quickening flame.

May she carry us
to the eternal lands.
She, radiant fire
of the sun.

11th century
Irish Liber Hymnorum

~

‘Brigit, excellent woman, sudden flame,
may the bright fiery sun take us to the lasting kingdom.’

Ancient Gaelic prayer – Carmina Gadelica

http://www.celticheritage.co.uk/virtualshrine/brighid.cfm

~

Brigids crosses 1975
Brigid’s crosses photographed in 1975

Her cross is considered to be a Sun Wheel.

According to many sources, she possesses an unusual status as a Sun Goddess.  “Who hangs Her Cloak upon the rays of the Sun and Whose dwelling-place radiates light as if on fire. As a solar deity her attributes are all skills associated with fire, the benefactress of inner healing and vital energy.”[4]
[4]  From « Brighid, Queen of Heaven » – copyright © 2003-2004 Susanna Duffy

Brighid’s Runes in Sweden: The Völva and the Sun
by Kirsten Brunsgaard Clausen

“In 2006, on an excursion to a large bronze-age rock art site near Norrköping in Sweden, we stepped over a rune inscription with six letters, overgrown, unknown. It said: BRAIDO. “A goddess” said the guide. Puzzled, we ran through all the Nordic goddesses who were familiar to us – Freya, Siv, Idun, Urd, but Braido we had never heard of!

The archaeologist Arthur Nordén wrote in 1925: “BRAIDO, meaning The Exalted One, could be some local witch”. He dates the runes to 200-400 CE, saying “this means that they are extremely unique and so ancient that rune writing in Scandinavia cannot be dated earlier”. New examinations of today agree on the dating. The name ending in –O is the ancient feminine, today turned into –a (Swedish) or –e (Danish), Braida/Braide.”
http://www.goddess-pages.co.uk/brighid-s-runes-in-sweden-the-voelva-and-the-sun/

Names of the Goddess
There are many variations, pronunciations, and spellings of Her name, including:
Scotland: Bhrìghde, Brighid, Bride
Ireland: Brigid, Brigit, Brighid, Brìd, Brígh
Manx: Breeshey
Wales: Ffraid
England: Brigantia, Brittania
France: Brigandu

Triple Goddess Briget
Triple Goddess Brigid

ASPECT :  Triple goddess and solar deity, her attributes are :

1 Fire of Inspiration : Poetess, muse, goddess of inspiration, learning, poetry, divinitation, witchcraft, occult knowledge, prophecy

2 Fire of the Forge : Smithcraft, carrying and forging a famous cauldron, blacksmiths, goldsmiths, and housecraft

3 Fire of the Hearth : Healer, medicine, spiritual healing and fertility, midwifery, inner healing and vital energy

Brighde Triple Goddess
Brighde Triple Goddess

The Three-Fold Fire of Brighid

Fire in the forge that
shapes and tempers.

Fire of the hearth that
nourishes and heals.

Fire in the head that
incites and inspires.

Ord Brighideach International – an order of flamekeepers
http://www.ordbrighideach.org/raven/

The Directory of Brigidine Flametending Orders seeks to be a storehouse and database of all Orders dedicated to Brighid, to assist the Brighid-devotee in choosing among the various Orders that best meets her or his needs.
https://flamtendersdirectory.wordpress.com/

http://www.brighid.org.uk/index.html

Information from

http://www.faeryshaman.org/es91/es91art4.htm
Brighid the Great copyright © 2005 by Rhiannan Ratelle

http://www.druidry.org/library/gods-goddesses/brigit
Brigit by Susa Morgan Black

Early Madrian Motifs/Symbols Part 2

Warning: Lux Madriana (not the Order of Ekklasia Madriana that we originate from) have drawn a stabbed dove on the front cover. ArchMadria Pamela Lanides of the Janite Tradition states that it could be traumatising and that the Janite Tradition does not contain such violence.
I am wholeheartedly in agreement with this statement. Sorella (Sister) Sophia Ruth aligned to the Janite Faith.

Early Madrian Motifs/Symbols Part 2

In The Coming Age Issue 2, Moura 1976
Front cover: Chalice, Fora, Holy Dove with a Sword piercing Her Heart:

The Coming Age Issue 2, Sacred Month and Sacred Season Moura, 1976 Front Cover, Combined Illustration of Chalice, Cross of Resurrection and Dove of Sacrifice
The Coming Age Issue 2, Sacred Month and Sacred Season Moura, 1976 Front Cover, Combined Illustration of Chalice, Cross of Resurrection and Dove of Sacrifice

Chalice

As stated in this issue: “…Sacrament of Communion, where the very being of our Lady is directly transmuted into the matter of the Sacrament for our spiritual nourishment.”
In The Coming Age Issue 1, Winter 1975: The Symbolism of The Sacred Names Article: “‘E Vo ‘E … the cry of the pre-Hellenic Madrian ecstatics… The letters symbolise the Daughter’s beginning in pure Spirit, Her descent into matter and death, [Janites would replace death with suffering and soul shattering], and Her resurrection to Spirit again.”

Notes:
Chalice

Sun evaporating below freezing sea water revealing sea salt.
Sun evaporating below freezing sea water revealing sea salt.

“Salt is born of the purest of parents: the sun and the sea.”
Pythagoras (580 BC – 500 BC)
http://www.foodreference.com/html/qsalt.html

Janite interpretation: The Supernal Sun, Dea Madria, Creator and Her primordial waters.

““Salt is the only rock directly consumed by man. It corrodes but preserves, desiccates but is wrested from the water. It has fascinated man for thousands of years not only as a substance he prized and was willing to labour to obtain, but  also as a generator of poetic and of mythic meaning. The contradictions it embodies only intensify its power and its links with experience of the sacred.”
Margaret Visser, 20th century author
http://www.foodreference.com/html/qsalt.html

european-salt-chalices-in-the-bronze-age-graphic
European salt chalices in the Bronze Age

“The great majority of early salt-working dates to the Early Iron Age and Roman periods, but in Germany, Poland and Romania there is extensive evidence for salt exploitation from the Neolithic.[1]
The Bronze Age is the first period in which such material is found with any regularity; thereafter, it increased in frequency, especially from the Iron Age onwards.”
[1] Jodlowski 1971, 68ff.; Muller 1987; Ursulescu 1977.

“In the early days of mankind, or at least the days prior to industrialization, the process of harvesting salt was time consuming and labor intensive. This meant that salt was a pretty valuable commodity, and only rich people could afford it. The Romans actually paid their soldiers with salt, because it was so important for things like food preservation. In fact, the word “salary” has its root in the Latin word for salt.”

European Societies in the Bronze Age
A. F. Harding
Department of Archaeology
University of Durham
Cambridge University Press, 2000
https://books.google.co.uk/books?id=EbIVASSe9jcC&pg=PA251&lpg=PA251&dq#v=onepage&q&f=false
Introduction only from the book: http://www.cesq.it/articoli/european_societies_bronze_age.pdf

~

“The book is arranged roughly chronologically, starting with the Chinese, who were the first of record to appreciate the strategic and economic importance of salt, willing to go to war over its control, the revenue from which filled the royal  coffers and financed its territorial expansion. The scene then shifts to the Mediterranean, where early salt works were  designed by Phoenicians and Egyptians, and to the Celts in central Europe, “huge and terrifying men in bright fabrics,” but great salt miners and likely the first to salt-cure ham, a distant cousin to prosciutto and Danish ham-in-a-can.”
Peter Lewis in the San Francisco Chronicle
Review of  Mark Kurlansky’s book, Salt: A World History
http://www.saltinstitute.org/wp-content/uploads/2013/07/kurlansky_review.pdf

~

“What is known is that as hunters, humans got all the sodium they needed by eating meat, but with the switch to agriculture came the need to add salt to a grain and vegetable diet. (This dietary deficiency explains why deer and other herbivores gravitate to salt licks). To ancient agrarian civilizations such as those in China and Egypt, salt was as vital as  water. Not surprisingly, salt came to acquire a totemic significance.

Perhaps because of its association with the teeming oceans, salt has been associated with fertility. The  Romans called a man in love salax, in a salted state, the origin of the word salacious. In Germany, brides’ shoes were sprinkled with salt, and in Egypt celibate priests abstained from salt because it was thought to excite sexual desire.

Just as often (clearly because of its ability to preserve), salt has been seen as embodying permanence, longevity and  loyalty. Because it inhibits the growth of bacteria, salt is a popular food preservative, and the ancient Egyptians used it to mummify bodies. Elsewhere in Africa and in Japan, salt was thought to ward off evil spirits; in Haiti it was  thought to bring zombies back to life.

In language, proverbs using salt suggest reliability and permanence. The Bible describes God’s covenant with Israel as “a covenant of salt forever ….” and in Islam and Judaism, Kurlansky tells us, “salt seals a bargain because it is immutable.” In the secular realm, a solid, unpretentious, trustworthy person is “the salt of the Earth.”  A sensible individual knows to how to take exaggerated claims “with a grain of salt.” A good employee is “worth his [or her] salt.” Indeed, Roman soldiers were paid in salt, the origin of the word “salary.” And we shouldn’t forget the salt that went into”salami” and “salad.””
Merle Rubin in the Los Angeles Times
http://www.saltinstitute.org/wp-content/uploads/2013/07/kurlansky_review.pdf

~
“Part of salt’s appeal is evident. “There is no better food than salted vegetables,” an Egyptian papyrus said; other cultures  added  herring, soybeans, beef, cheese, anchovies, salami and potato chips. The  salting  of greens, preferred by the Romans, led to the Latin “sal” (salt) as an integral part of “salad.””
Edward Rothstein in The New York Times
http://www.saltinstitute.org/wp-content/uploads/2013/07/kurlansky_review.pdf

My mother always placed hand picked berries and green leaves into salted water, to remove bacteria and insects before rinsing and serving as food. Sorella (Sister) Sophia Ruth

~

“1. Ancient Greeks exchanged their slaves for salt
2. Romans paid their soldiers partly in salt
3. Chinese, in 2700 BC, wrote of 40 different kinds of salt
4. The French Revolution was sparked, in part, by a salt tax
5. Ancient Ethiopians used salt disks as a form of currency
6. In the United States, the Erie Canal was built largely to transport salt
7. In Slavic countries, salt is given to a bride and groom to symbolize health and happiness
8. Many of Napoleon’s troops died during [their] retreat from Moscow due to a lack of salt
9. The English increased their use of salt during Queen Elizabeth’s reign when she required her subjects to eat fish on Wednesday and Friday”
https://msnucleus.org/membership/html/k-6/rc/chemistry/4/rcc4_3a.html

~

“Basque and Viking ships ply the seas seeking and trading salt; the Chinese come up with myriad innovations involving the quest for salt (including drilling and gunpowder); the Hebrews seal covenants with salt; the first great Roman road, the Via Salaria (Salt Road) is built to transport salt…”
Zsuzi Gartner in Globebooks.com
http://www.saltinstitute.org/wp-content/uploads/2013/07/kurlansky_review.pdf

~

“Salt is one of the most precious natural compounds known to man. Being the “salt of the earth” or being “worth one’s salt” has long been a compliment.

Throughout history people have used salt to make bread and more importantly as a vital food preservative to keep bacteria from growing on cured meats and cheeses.

What the ancients may not have realized is just how essential salt (sodium chloride) is for life. It is required for blood, sweat, digestive juices and efficient nerve transmission.”
http://www.saltinstitute.org/salt-101/

~

“For Jews, salt represents God’s covenant with Israel. As the Old Testament book of Leviticus explains, God told Moses  that, “You shall season all your cereal offerings with salt; you shall not let the salt of the covenant with your God be lacking.”
For Christians, the New Testament touts salt as a sign of wisdom, and in Roman Catholic rites it has symbolized cleansing  and purification.”
Amanda Watson Schnetzer in Insight on the News (March 11, 2002)
http://www.saltinstitute.org/wp-content/uploads/2013/07/kurlansky_review.pdf

Salt from early days had a sacred and religious character
http://www.newadvent.org/cathen/13403b.htm

Religions
http://salt.org.il/frame_rel.html

Often, salt is used in purification spells.”
http://paganwiccan.about.com/od/othermagicspells/fl/Salt-Folklore-and-Magic.htm

~

“Salt’s importance was practical as well. Salt was used to clean chimneys, solder pipes, glaze pottery and alleviate toothaches.”
Edward Rothstein in The New York Times
http://www.saltinstitute.org/wp-content/uploads/2013/07/kurlansky_review.pdf

Used in the production of leather.
http://salt.org.il/frame_uses.html

60+ Ways to Use Salt
http://www.rd.com/home/cleaning-organizing/over-60-ways-to-use-salt/

Clarification required:
“pre-Hellenic Madrian ecstatics” does this mean pre-Hellenic Goddess worshipping ecstatics, as in the worship of Demeter?

Origins of ‘E Vo ‘E:

Rather difficult to research on the internet.

“Io Evohe
Pronunciation YOH Ev-OH-hay
Meaning
A chant used to invoke mystical powers during rituals and celebrations.
Its origins are cloudy.”
http://www.gregoryamerind.com/goddessongs-text%20only.pdf

~~~~~~~

Fora
has multiple meanings.

One
Cross of Resurrection (early Madrian)

Stated in The Coming Age Issue 2, Moura 1976: “…it is a cross of equal arms…strictly speaking the cross alone represents only the death of our Lady.” [Janites would replace death with suffering and soul shattering.]
“A yet more glorious symbol signifies the full glory of Her resurrection. It is the Cross of Resurrection, sometimes called the Celtic Cross, because the matriarchal Celts were among the last peoples to preserve this most precious symbol. It consists of the equal-armed Cross superimposed upon a circle with the arms of the cross extending a little beyond the circle. The circle, like the full moon [or Sun], is a symbol of completion or Divine Perfection. The Cross of Resurrection signifies the return of the Daughter from death, [Janites would replace death with suffering and soul shattering], to full Divinity and the diffusion of the light of the Divine throughout the world of [removed fallen] matter.”

Clarification:
“A consistent matriarchy, which was attributed to Celtic women by Romantic authors of the 18th and 19th centuries and by 20th century Feminist authors, is not attested in reliable sources.
https://en.wikipedia.org/wiki/Ancient_Celtic_women
http://matriarchy.info/index.php?option=com_content&task=view&id=9

~~

Two
Fora of Faith

“In our Faith, the word Fora is not the Latin plural for forum, but rather is a word from our heritage meaning foundation, fundamental and fundamental form or pattern. It also indicates the fundamental or foundational Principle of the Cosmos.”
https://mydevotionstodea.wordpress.com/2016/03/04/tracing-the-fora/

Copywrite of ArchMadria Pamela Lanides

Psalm 9: O, Veiled Fora of Faith

O, Veiled Fora of Faith,
You are the Still Centre of All Being.
You are the Luminosity of Darkness.
You are the Wellspring of the Rivers of Life.
You are the Tabernacle of Divinity.
O, Veiled Fora of Faith, be with us.
https://mydevotionstodea.wordpress.com/2016/03/02/finger-handbag-trouser-pocket-rosary-for-moura-great-mother-veiled-origin-of-eternity-fora-of-faith/

Three
A solar cross.

“The Fora is an equi-distant solar cross whose vertical and horizontal rays extend beyond the circle. It is the main symbol of our Faith.”
https://mydevotionstodea.wordpress.com/2016/03/04/tracing-the-fora/

Not as the sun cross, solar cross, wheel cross shown here:
https://en.wikipedia.org/wiki/Sun_cross

Four
A symbol of Avala

“The true significance of the fora can best be understood by recalling the first explanation that young children are given: that it is a picture of Avala. Avala, the paradise of the Daughter, has the Tree of Life at its centre, and from directly beneath this Tree flow four rivers, down the axial mountain, Caravalas, in the four cardinal directions. After the exploration of everything furthest from Dea by the Children of Dea, a circular wall was placed about the orchard garden. Thus the cross of the fora represents the four rivers, the circle the wall, and the central point the world-Tree.

Now the tree is the World-Axis, and Avala itself, being closest to the Good Realm of Dea, represents the realm of the Archetypes, where things are still perfect Forms, rather than the broken and imperfect reflections of them upon the world of matter (as such, it corresponds to the hub of the wheel, just as the Tree corresponds to the axle). The four rivers represent the extension of the Divine Ideas, first as perfect Forms in the Archetypal realm, and then out into the world of matter.”
https://mydevotionstodea.wordpress.com/2016/03/17/the-cross-and-the-fora/

Holy Dove with a Sword piercing Her Heart

“…the titles ‘Great Dove of the Waters’ and ‘Dove of the Sacrifice’, used in the Rites of the Goddess are connected with the two sacred events also associated with the egg: the Creation and the Resurrection.
…In the portrayal of the Dove of the Sacrifice, the heart may be pierced by one sword or by seven…”
[This borrows from Roman Catholic Christianity, which the early Madrians did.]
Symbolism: Easter Symbols: The Egg and the Dove from The Coming Age, Issue 2, Moura, 1976

For further information:
Dove Articles by ArchMadria Pamela Lanides
The meaning of the Dove symbol of our Janite Tradition
https://mydevotionstodea.wordpress.com/2016/04/15/dove-articles-by-archmadria-pamela-lanides/

Sorella (Sister) Sophia Ruth’s own blessing tradition:
https://mydevotionstodea.wordpress.com/2016/04/17/dove-blessing-gesture/

~~~

The Coming Age, Issue 2, Moura, 1976, Back Cover Illustrations:

Madrian Rosary
See Rose (5 petals) https://mydevotionstodea.wordpress.com/2017/01/20/early-madrian-motifssymbols-part-1/
and https://mydevotionstodea.wordpress.com/2016/10/09/the-madrian-rosary-of-five-mysteriesfive-solar-seasons/

Egg with Silver Star of The Waters

…The Egg has been primarily associated with the Goddess as the ovum mundi, the cosmic egg which is the source of life, hatching the heaven and the earth. The Goddess has either brought forth the ovum mundi or else as the Daughter, has been born from it. Through these associations, the egg has been seen as the symbol of the Life Force.”
Symbolism: Easter Symbols: The Egg and the Dove from The Coming Age, Issue 2, Moura, 1976

“The egg is the symbol of life and resurrection.”
The Coming Season from The Coming Age, Issue 2, Moura, 1976

the-coming-age-issue-2-silver-star-egg
The Coming Age, Issue 2, Sacred Month and Season Moura, 1976. Egg with Silver Star of The Waters.

Prayer: Silver Star of The Waters (was published in The Rite of Sacrifice 1976).
https://mydevotionstodea.wordpress.com/2016/12/13/about-the-silver-star-of-the-waters-prayer/

the-coming-age-issue-2-cross-of-resurrection-egg
The Coming Age, Issue 2, Sacred Month and Season Moura, 1976. Egg with Cross of Resurrection (as the Fora was named at that time).

and an Egg with the Cross of Resurrection (as the Fora was called at that time).

The Coming Age, Issue 2, Moura, 1976, Back Cover. Madrian Rosary with Rose and Pentagram symbols, Egg with Silver Star of The Waters and Egg with the Cross of Resurrection.
The Coming Age, Issue 2, Moura, 1976, Back Cover. Madrian Rosary with Rose and Pentagram symbols, Egg with Silver Star of The Waters and Egg with the Cross of Resurrection.

In The Coming Age Issue 1, Winter 1975, on the back cover text states: Booklets The Rite of Sacrifice and The Catechism of the Children of the Goddess are available.

In The Coming Age Issue 2, Moura 1976, on the back cover text states: Booklets The Rite of Sacrifice and The Catechism of the Children of the Goddess are available as well as The Creation & The Crystal Tablet, The Mythos of The Divine Maid.

[Which dates those publications although they were possibly without illustrations.]

~~~

By The Coming Age, Issue 4, Autumn, 1977, Work in Progress:
NEW BOOKLETS FOR OLD
New editions of the Rite and Catechism have now been brought out. They are better-produced, slightly expanded (the third appendix of the Catechism, for example, contains more prayers, including the Daughter of Light and a Canticle of the Goddess), contain some illustrations…

The Rite of Sacrifice Booklet (probably 1977)

Front Cover:

The Rite of Sacrifice Booklet, Front Cover, 1977. Chalice
The Rite of Sacrifice Booklet, Front Cover, 1977. Chalice

Chalice un-inscribed (hand drawn)

Inside Pages: Roman Catholic Our Lady of the Sacred Heart,

The Rite of Sacrifice Booklet, 1977, Madrian Altar Cloth with Cross of Resurrection.
The Rite of Sacrifice Booklet, 1977, Madrian Altar Cloth with Cross of Resurrection.

Altar with Fora on the altar cloth,

The Rite of Sacrifice Booklet, 1977, Half Moon Day Cross of Resurrection, Heart, Star, Crescent Moon
The Rite of Sacrifice Booklet, 1977, Half Moon Day Cross of Resurrection, Heart, Star, Crescent Moon

Combined Symbol: For Half Moon Day: Cross of Resurrection, Heart, 5 Pointed Star, Crescent Moon on its side above cross. Symbolising the Holy Daughter in the worlds(cross), guiding with Her Divinity (5 pointed star), spreading Her Holy Love (heart) and gentle Light (half moon). (Sorella (Sister) Sophia Ruth).

The Catechism of the Children of the Goddess booklet (probably 1977)

the-catechism-of-the-children-of-the-goddess-1977-roman-or-greek-oil-lamp
The Catechism of the Children of the Goddess, 1977 Roman or Greek Oil Lamp

Front Cover: Greek or Roman Oil Lamp influenced by basing the Madrian Creation in part upon The Kosmopoiia which begins with Light.

Notes:

“[1] The divinity created by the first demiurgic laugh is Augé, the “luminous ray”. Its appearance therefore coincides with the establishment of a physical universe as the world of light and fire. …in Kosmopoiia the Light is absolute beginning.

[4] Genna, divine personification of the seed, is the fourth divinity produced by the laughter of the god.
…(1) The ritual contexts of this logos generally evoke the appearance of a divinity in the light of a lamp.”
The Use of The Divine Names in The Kosmopoiia by Michela Zago

~

It has all the primary concepts and characters of the Madrian Creation Mythos.
Summary by Sorella Sophia:
Helios was the personification of the Sun in Greek mythology. Creator in The Kosmopoiia “The divine light of the world”. (For us, of course, the Celestial Mother is the Supernal Sun. A. M. Pam.)Divine Laughter creates, it also allows the Divine and human to communicate. From the divine names article: Greek Demeter and Egyptian Hathor being sited as influencing reconciliation stories for this part of Kosmopoiia.

In my opinion this is why The Catechism of The Children of The Goddess has a lit classical Roman/Greek oil lamp on the cover. (Interesting as the oiled lamp is my personal symbol. A. M. Pam.)
https://deanic.com/2016/12/08/the-origins-of-the-creation-mythos/

I am presently translating all The Use of The Divine Names in The Kosmopoiia by Michela Zago in preparation for a series of articles on my blog. (Sorella (Sister) Sophia Ruth).

Replica to purchase: http://www.britishmuseumshoponline.org/homeware/roman-lamp/invt/cmcr91100

Inside Front Cover: Mother God and Child (not hand drawn),

chalice-not-hand-drawn-inside-the-catechism-of-the-children-of-the-goddess-1977
Chalice not hand drawn inside The Catechism of the Children of the Goddess, 1977.

Chalice (not hand drawn),

seasonal-pentagram-madrian
Elemental Pentagram inside The Catechism of the Children of the Goddess, 1977.

Elemental Pentagram

In most traditions, including certain forms of Christianity and also Wicca and neo-Paganism they are:
East is Air; South is Fire, West is Water and North is Earth.

“…The current attribution used in most forms of Wicca and modern Paganism,( ie Air = East, Fire = South, Water = West and Earth = North) most likely originates with Eliphas Levi, which means it is mid-nineteenth century, when he switches the directions attributing Salamanders (fire) to the South and Sylphs (air) to the East, with Undines (Water) in the West and Gnomes (Earth) in the North (Transcendental Magic). Levi’s work was available and studied by the members of the Golden Dawn, so likely this is where they picked it up and whence it filtered down into other forms of modern magic and the pagan revival.”

Sorita L. d’Este
August 24, 2013 at 1:44 pm

~

“Golden Dawn association of Air in the East, fire in the south, water in the west, earth in the north are based on the elemental attributions of the letters of YHVH, starting in the East and going clockwise.

[Aleister] Crowley later used this same association a lot since he came from the Golden Dawn, which is why I think it caught on with modern magic and paganism. Since Wicca began as an OTO [Ordo Templi Orientis] offshoot, that association stuck and was further popularized.
Crowley also changed it though…In Liber V vel Reguli the associations of the quarters are derived from taking the tetragrammaton backwards, also starting in the East and going counterclockwise to get earth in the east, air in the north, water in the west, and fire in the south.”
AIWASS
June 21, 2015 at 5:07 pm

Comments on
https://aaronleitch.wordpress.com/2013/08/24/the-elements-and-the-four-cardinal-directions/

The Madrian system is different: East is Water, South is Fire, West is Earth and North is Air.

My own thoughts are that being situated in Oxford, a city in central southern England:
To the east is the sea (water).
To the south are the warmer countries (fire) of Spain, Portugal, Italy and Greece (Southern Europe), and hot North Africa with the Sahara desert.
To the north are the icy countries (air) of Northern Europe / Iceland / the Arctic.
To the West is Eire (earth).

But I am still researching which traditional resources the Madrians might have used.
So far I have one corelation only:
“…in Buddhism, with the Dhyani Buddhas
1) East-Water-Spring: with the morning dew, life begins, the Water of life, the Fountain of Youth, our childhood, we gestate in the womb-water-sack (where it is as if we & the Water are One).”
lovecaste
April 7, 2016 at 4:31 pm
Comments on
https://aaronleitch.wordpress.com/2013/08/24/the-elements-and-the-four-cardinal-directions/

~

Germanic origin of names

During the Migration Period, the Germanic languages’ names for the cardinal directions entered the Romance languages, where they replaced the Latin names borealis (or septentrionalis) with north, australis (or meridionalis) with south, occidentalis with west and orientalis with east. It is possible that some northern people used the Germanic names for the intermediate directions. Medieval Scandinavian orientation would thus have involved a 45 degree rotation of cardinal directions.[4]

north (Proto-Germanic *norþ-) from the proto-Indo-European *nórto-s ‘submerged’ from the root *ner- ‘left, below, to the left of the rising sun’ whence comes the Ancient Greek name Nereus.[5]

east (*aus-t-) from the word for dawn. The proto-Indo-European form is *austo-s from the root is *aues- ‘shine (red)’.[6] See Ēostre.

south (*sunþ-), derived from proto-Indo-European *sú-n-to-s from the root *seu- ‘seethe, boil’.[7] Cognate with this root is the word Sun, thus “the region of the Sun.”

west (*wes-t-) from a word for “evening.” The proto-Indo-European form is *uestos from the root *ues- ‘shine (red)’,[8] itself a form of *aues-.[9] Cognate with the root are the Latin words vesper and vesta and the Ancient Greek Hestia, Hesperus and Hesperides.

Notes:
[4] See e.g. Weibull, Lauritz. De gamle nordbornas väderstrecksbegrepp. Scandia 1/1928; Ekblom, R. Alfred the Great as Geographer. Studia Neophilologica 14/1941-2; Ekblom, R. Den forntida nordiska orientering och Wulfstans resa till Truso. Förnvännen. 33/1938; Sköld, Tryggve. Isländska väderstreck. Scripta Islandica. Isländska sällskapets årsbok 16/1965.
[5] entries 765-66 of the Indogermanisches etymologisches Wörterbuch
[6] entries 86-7 of the Indogermanisches etymologisches Wörterbuch
[7] entries 914-15 of the Indogermanisches etymologisches Wörterbuch
[8] entries 1173 of the Indogermanisches etymologisches Wörterbuch
[9] entries 86-7 of the Indogermanisches etymologisches Wörterbuch
https://en.wikipedia.org/wiki/Indogermanisches_etymologisches_W%C3%B6rterbuch

https://en.wikipedia.org/wiki/Cardinal_direction

rosary-rose-2-stars-madrian
Combined Symbol inside The Catechism of the Children of the Goddess, 1977.

Combined symbol: Madrian Rosary, Pentagram with equal armed cross, dove’s head, rose, apple, star symbols of the Sacred Seasons, 5 petaled Rose.
Included in this article: https://mydevotionstodea.wordpress.com/2017/01/20/early-madrian-motifssymbols-part-1/

The Creation & The Crystal Tablet (1976)

Page 1:

fora-solar-cross-madrian-the-creation-and-the-crystal-tablet
The Creation and The Crystal Tablet 1976 Cross of Resurrection

Above See Fora One: Cross of Resurrection (early Madrian) symbolism as explained previously in this article

~

2-fora-solar-cross-madrian-the-crystal-tablet
2 Fora Solar Cross Madrian The Crystal Tablet booklet 1976
1-fora-solar-cross-madrian-the-crystal-tablet
1 Fora Solar Cross Madrian The Crystal Tablet booklet 1976

These are used to denote the 3 principles of the Holy Triunity in The Crystal Tablet (1976) which I perceive to be the Fora Two: Fora of Faith symbolism as explained previously in this article.

fora-rose-star-madrian
Illustration of combined Madrian Fora, Rose, Star inscribed IHV

Combined Symbol: In The Coming Age Issue 1, Winter 1975: The Symbolism of The Sacred Names Article: “Iot ‘E Vo (IVH) is the primordial name of Deity. The symbolism of the letters represents in order the three Persons of the Trinity – Iot is always the first principle or primal urge, thus in its most sublime sense it is the unknowable Dark Mother – Absolute Deity, before time and before space, from Whom all manifestation proceeds. ‘E the aspirate or ‘breathing’ of the Ancient Greeks represents the breath or Spirit of Deity (in both Greek and Hebrew the word for breath and spirit is the same: Pneuma in Greek, Ruach in Hebrew); the great Mother and Creator of the universe. Vo is the letter of death and is as such it represents the Daughter.”

Clarification: I would like to know the source for Vo being a letter of death. I could not find it in Greek, although this article is interesting (number 7 and enlightenment) http://greece.greekreporter.com/2013/10/12/decoding-hidden-meanings-of-ancient-greek-alphabet-letters/ Maybe there are some clues here: http://www.wicca-chat.com/bos/lessons/divine-names.txt

Fora of Faith, symbolism as explained previously in this article. Interesting that in this version there are 4 crystals / diamond shapes. I am still thinking about this symbolism.

Rose and Pentacle included in this article: https://mydevotionstodea.wordpress.com/2017/01/20/early-madrian-motifssymbols-part-1/

The Mythos of The Divine Maid (1976)

Page 1:

the-mythos-of-the-divine-maid-1976-pentagram-full-moon-crescent-moon-dark-new-moon
5 Pointed Star Pentagram Full Moon Crescent Moon Dark New Moon Madrian The Mythos of The Divine Maid booklet 1976

5 Pointed Star / Pentagram

Guiding Star of Hope
“The Daughter as the Guide of humanity, is symbolised by the guiding star, the hope of travelers.
The guiding aspect of the star is illustrated powerfully in the Mythos II, where it draws all the children of the earth to the sacred grove.” [1]
Note:
[1] Symbolism article: Star and the Sacred Grove from The Coming Age, Issue 5, (maybe Winter, 1976 unconfirmed as yet)
AND
“Midnight Star of Wonder
I view the upright pentagram (5 pointed star) as the Midnight Star of Wonder, the “epiphany” star announcing the presence of the Holy Daughter in the manifest planes.” (Sorella (Sister) Sophia Ruth)
https://mydevotionstodea.wordpress.com/2016/12/22/guiding-star-of-hope-midnight-star-of-wonder/

Full Moon (top left), Waning Crescent Moon (top right), Dark / New Moon (bottom right),
Waning Crescent Moon (bottom left).
All Prefaces of the Natural Rites in The Rite of Sacrifice booklet (moon rites) are directed towards Kyria (Lady in the ‘lord’ sense), the Holy Daughter.

Chalice inside Madrian The Mythos Of The Divine Maid Booklet 1977
Chalice inside Madrian The Mythos Of The Divine Maid Booklet 1977

~

The booklets mentioned are collated in The Sacred Myths and Rites of the Madrians, edited by Philip P Jackson which may be obtained here http://www.biblio.com/book/sacred-myths-rites-madrians-philip-jackson/d/634576068

 

 

Early Madrian Motifs/Symbols Part 1

Early Madrian Motifs/Symbols Part 1

We know some of the earliest motifs of the Madrian Faith.
In The Coming Age Issue 1, 1975, Page 13:

the-coming-age-issue-1-page-13-work-in-progress-crafts

Labrys
or double headed axe has multiple meanings.

One

swamper-axe-left-and-double-bit-michigan-pattern-felling-axe-right
Swamper axe (left) and double-bit Michigan Pattern felling axe (right)

“The double-bitted axe remains a forestry tool to this day,[2] and the labrys certainly functioned as a tool and hewing axe[3] before it was invested with symbolic function.[4]”

Used for clearing woods for temples (Sorella – Sister – Sophia Ruth)

“Once a tree was on the ground, a different crew of men called “swampers” would remove limbs from the tree so it could be cut into lengths.  The swampers were also responsible for clearing underbrush before a tree was felled and also constructed logging roads in the pineries.  (Because, swamping required less skill than felling, swampers were paid less than fellers.)  A Swamping Pattern axe was different than that used by fellers.  The bit on a “swamping” axe had a different profile than a felling axe.  Designed for limbing, the bit was usually wider and more rounded than a felling axe of similar size and weight.” http://midmichigannatureandscience.blogspot.co.uk/2013/08/logging-tools-part-1-axe-and-saw.html

Read this article: Celtic Tree and Plant Worship
http://www.sacred-texts.com/neu/celt/rac/rac16.htm

“If we go back far enough in time, early Britain was covered with forests. Back then trees must have seemed as plentiful as blades of grass are now. The sort of concrete jungle we have transformed our world into, must have been unimaginable to our early ancestors, who could scarcely have thought of a world as soulless as ours. Though, sadly, this did not stop several tribes using slash-and-burn farming techniques, which deforested large areas and turned them into moorlands.

From a purely practical point of view, trees played (and continue to play) a vital role in human survival. The old tribes built their houses from wood, depending on trees for firewood, the materials with which to build boats, make tools, carve religious statuary, harvest fruit for themselves and food for their animals. It can scarcely be any wonder that those people viewed trees as holy things.”
https://druidnetwork.org/what-is-druidry/learning-resources/polytheist/lesson-fifteen/

“Regardless of any metaphysical connections, there exists a special relationship between trees and humans, as we both produce the gasses that enable the other to exist: They produce the oxygen that we need to breathe, and we  produce carbon dioxide which trees breathe.”
http://www.ancient-wisdom.com/treelore.htm

Notes:
[2] Representative collections of modern double axeheads are conserved in the Canada Science and Technology Museum, Ottawa, and elsewhere.
[3] The functions of Neolithic stone axeheads are discussed by Marija Gimbutas, “Battle axe or cult axe?”, Man 53 (April 1953:51-54).
[4] “Just as the bishop’s crozier is derived from the functional shepherd’s crook,” according to A. Trevor Hodge, “The Labrys: Why Was the Double Axe Double?” American Journal of Archaeology 89.2 (April 1985:307–308), p. 307.
https://en.wikipedia.org/wiki/Labrys

~~

Two
“In Crete, the symbol of the double-axe always accompanies goddesses, and it seems that it was the symbol of the beginning (arche) of the creation.”
https://en.wikipedia.org/wiki/Labrys

~

Three

macedonian-labrys
Triple Bronze double axes. Hanging from a wooden sceptre, these objects declared the hieratic office of their owner, a priestess. (10th-8th century BC)

The Double Axe has a fascinating association with a Priestesses wand depicting a Butterfly Goddess in Minoan civilisation.
“The Labyris (labyris – labris – labrus) is an ancient Minoan symbol that looks like a double axe and was quite common on the island of Crete. Scholars have reason to believe that the symbol actually represents a butterfly, a symbol of transformation.
This symbol was most likely the one at the end of a wand that was supposedly used by a goddess (Circe, Athena).”
http://www.amazonation.com/BattleAxe.html

Read this informative article: Labyris – the Double Axe (and the Butterfly Goddess)
http://potnia.theladyofthelabyrinth.com/symbols-of-the-minoan-goddess-religion/

The Butterfly Goddess (which Sorella Shoshana touched upon in her head piece symbolism article: https://mydevotionstodea.wordpress.com/2017/01/06/the-spiritual-significance-of-head-wear-through-the-ages-by-sorella-shoshana/ “Butterflies represent change, beauty emerging from the ugly…”), is actually I believe about human life.

butterfly-life-cycle
Butterfly Life Cycle

The egg being the incarnation into the manifest planes, the caterpillar being a human centred pleasure seeking-pain avoiding existence. Transformed within the awareness of the Mantle of Dea (chrysalis) and by Her Grace into a life directed towards Dea, moving upwards perfecting ourselves in preparation of assumption. The glorious patterns and colours of a butterfly symbolising Dea Creator.

I have just discovered “Marija Gimbutas believed that the labyris was a symbol of the Goddess as butterfly.
The various stages of the life cycle of this insect can be seen as representing the cycle of life, death and rebirth – or resurrection.”
http://potnia.theladyofthelabyrinth.com/symbols-of-the-minoan-goddess-religion/

bronze-age-etruscan-double-sided-axe-from-etruscan-colony-knossos-crete
Bronze age Etruscan double sided axe from Etruscan colony Knossos, Crete

“The labrys symbol has been found widely in the Bronze Age archaeological recovery at the Palace of Knossos on Crete.[15] This double-axe was used specifically by Minoan priestesses for ceremonial uses and any woman seen with one was thought to have a high status in the society.[16] Sometimes the double-axe is combined with the sacral-knot which seems that was a symbol of holiness. Such symbols have been found in Crete, and also on some goldrings from Mycenae.[17]”

Notes:
[15] C. Michael Hogan, Knossos fieldnotes, Modern Antiquarian (2007)
http://www.themodernantiquarian.com/site/10854/knossos.html#fieldnotes
[16] Raphael, Melissa (2000). Introducing Thealogy : Discourse on the Goddess. Cleveland, OH: Pilgrim.
[17] F.Schachermeyer:Die Minoische Kultur des alten Kreta”. p.163, 164 W.Kohlhammer Verlag Stuttgart
https://en.wikipedia.org/wiki/Labrys

Divine Kisses

angel-in-the-wings-of-a-butterfly
Angel in the wings of a butterfly

God was making butterflies,
An angel pleaded with the Most High ~
She wished to come to earth
To be close to flowers ~ with each
Kiss the butterflies receive from flowers,
The angel wished the kisses to suffering souls.
God made a bargain with the angel: “If you bless
Everyone, not just the suffering, I will grant your request.”
“Most Compassionate, Most Merciful, Most Gracious,
I accept your conditions”, the angel replied as she flew off on butterflies’ wings ~

A stunningly beautiful Poem

by

http://palestinerose.wordpress.com
from https://endlesslightandlove.com/2013/04/20/devine-kisses/

~~

Four


The Madrian explanation.
The Coming Age, Issue 10, Moura 1979
Symbolism: The Heart and the Moon-Axe

“The Labrys was taken from our Lady at the first gate of Hell, and when Her body was hung upon the pillar of the world, “above Her head they hung the great Moon-Axe, in symbol of the greatness of the deed.” (Mythos V, 19).

…moon-axe (or labrys) was… widespread. It was the emblem of the divine authority of the priestess-queen in the Cretan Empire. …It was widely used amongst the… Lydians, Lycians and Etruscans, and in… Rome.

It is painted on the temple-walls of the recently excavated 10,000 year old city of Catal Huyuk in Turkey, and carved into the sacred stones of pre-Celtic Stonehenge.

The Labrys… is a dual figure being lunar and psychic… it operates on the level of the manifestation, rather than on that of the Principle whence all manifestation proceeds and whereto it must return. The two moon-blades of the labrys, one crescent (waxing) and the other decrescent (waning) , correspond respectively to all the oppositions and complementarities which are the necessary condition of manifest existence: life and death, summer and winter, pleasure and pain, activity and rest, day and night, etc. The labrys is strictly equivalent to the far-eastern yin-yang symbol, itself a device of matriarchal origin.

Yet the crucial point of the labrys is not the axe-head, but the central haft that passes through it. This haft represents the world-axis that passes through the centre of the cosmos, and upon which maid, the “central” being on her own plane of existence, takes her station (provided she is true to her own nature, or thamë).

This is made abundantly clear by the fact that in the Mythos the Axe is hung upon the Pillar of Hell, which is in truth the lowest section of the world-axis. In iconographic the axe-haft is always shown parallel to the pillar.

The haft, therefore, represents maid [humanity], or psyche (soul) as the mediatrix between earth and Heaven and between all the dualities of manifest existence. It also represents Our Lady as perfect Maid and perfect Mediatrix; the Priestess and Princess of the world, Who has said: “I am between the ripple and the water; I am between the breathing and the breath; between the lightest word of greeting and the thought from which it flows”.

The upper part of the haft, above the blades, represents the transcendent “shaft of Sunlight”: the permanent Essences or Divine Ideas that are manifested through the impermanent and dualistic “play” of matter. This shaft of Solar, Essential Light, descending from above, is represented only by a short section of the haft, indicating its “point of descent”. This is because the moon-axe represents the cosmos seen from “below” – that is from a human and psychic rather than a transcendent and Spiritual point of view.

Nevertheless, it is a vital element in the symbolism, for psyche (or maid) [human], in a higher sense, mediates between the transient flux of matter itself and the eternal Essence which it imperfectly expresses. At the same time, being on the Axis, she is a continuation of the Essential light, just as the lower portion of the haft is a continuation of the upper, while the blades represent a development (or “world”) at one particular level of existence (the material in this case), branching off the haft at one particular point. That is why psyche alone (whether Inanna as Perfect Soul, or maid as Her regent) can redeem material creation.

The Axis descends through every level of being, both above and below the material as we know it, and countless “worlds”, both super-physical and sub-physical, branch off it at the different planes. The labrys, however, simply gives us a concise picture of our own particular level of being, its situation in psychic and spiritual “space”, and our place within it.

From a slightly different perspective, we may take the parallel symbols of the heart and the labrys as symbols of the contemplative life and the active life respectively. The heart represents the mystical heuresis, the return of the soul to the Mother. The labrys is an image of life in thamë, with maid acting in accordance with her true nature as mediatrix and princess regent of the world.

It is for this reason that the labrys was the emblem of the divine authority of the royal house of Crete and other matriarchal states: for a princess is supremely a mediatrix, and rules not according to her own wishes, but wholly in obedience to the law of thamë.”

Note:

Çatalhöyük was not matriarchal, but egalitarian.

“Also confirming the description of earlier Neolithic cultures in The Chalice and the Blade is Ian Hodder, the archeologist excavating Çatalhöyük, one of the largest Neolithic sites found to date. In his 2004 Scientific American article Hodder wrote: “Even analyses of isotopes in bones give no indication of divergence in lifestyle translating into differences in status and power between women and men.” He further noted that this points to “a society in which sex is relatively unimportant in assigning social roles, with neither burials nor space in houses suggesting gender inequality.” In short, Hodder explicitly confirms that gender equity was a key part of a more partnership-oriented social configuration in this more generally equitable early farming site where there are no signs of destruction through warfare for over 1,000 years.”
Hoddard, I. (2004). Women and men at Catalhoyuk. Scientific American. January, pp. 77-83.
https://en.wikipedia.org/wiki/The_Chalice_and_the_Blade#Subsequent_Findings_Supporting_The_Chalice_and_the_Blade

Video: Ian Hodder: “Origins of Settled Life; Göbekli and Çatalhöyük”
https://www.youtube.com/watch?v=zKwSg7OyvoE

See the gallery depicting female figurines/goddess figures and houses:
http://potnia.theladyofthelabyrinth.com/catal-hoyuk-gallery/

Stonehenge

“Long after the monument was built, when Bronze Age burial mounds rich in grave goods began to be scattered across the plain around Stonehenge, and the archaeological evidence suggests those who could make or trade in metal goods had an almost shamanic status, people carved little images of daggers and axes, many now invisible to the naked eye, into the stones. Scores more have been revealed by the scan, including 71 new axe heads, bringing the total to 115 – doubling the number ever recorded in Britain.”
https://www.theguardian.com/culture/2012/oct/09/stonehenge-digital-laser-3d-survey

See also the photos here: https://mikepitts.wordpress.com/2015/08/01/a-short-blog-about-axe-blades-carved-onto-stonehenge-megaliths/

~~~

Five
“The labrys, as a historic goddess movement symbol representing the memory of Pre-patriarchal matristic societies,[30]…”

Note:
[30] Keller, Mara (1988). “Eleusinian Mysteries” (PDF). Journal of Feminist Studies in Religion (Vol 4 No 1): 42. Retrieved 2016-06-21.
http://www.ciis.edu/Documents/Keller%20Eleusinian%20Mysteries%201988%20part2_1.pdf
https://en.wikipedia.org/wiki/Labrys

~~~

Six

lesbian-pride-rainbow-labrys
Lesbian Pride Rainbow Labrys

“…has also has been used since the 1970s[31][32] as a lesbian,[32] and feminist,[33] symbol said to represent women’s strength and self-sufficiency.[34]”

Notes:
[31] Cottingham, Laura (1996). Lesbians Are So Chic. Bloomsbury. ISBN 9780304337217. Retrieved 26 June 2014.
https://books.google.com/books?id=TWgbAAAAYAAJ
[32] Murphy, Timothy (2013-10-18). Reader’s Guide to Lesbian and Gay Studies. Routledge. p. 44ff. ISBN 9781135942342. Retrieved 26 June 2014.
https://books.google.com/books?id=FeWMAQAAQBAJ&pg=PA44
[33] Morrow, Deana F.; Messinger, Lori (2006-04-02). Sexual Orientation and Gender Expression in Social Work Practice: Working with Gay, Lesbian, Bisexual, and Transgender People. Columbia University Press. pp. 476–. ISBN 9780231127295. Retrieved 26 June 2014.
https://books.google.com/books?id=AkyrAgAAQBAJ&pg=PA476
[34] SwadePages “Origin & History of Gay & Lesbian Symbols”
http://www.swade.net/gallery/symbols.html#labrys
https://en.wikipedia.org/wiki/Labrys

~~

Rose-and-Pentacle

One
Directly relates to the previous symbol the labrys.

In section Four

“The labrys is an image of life in thamë, with maid acting in accordance with her true nature as mediatrix and princess regent of the world.”
The Coming Age, Issue 10, Moura 1979
Symbolism: The Heart and the Moon-Axe

I am theorising again from snippets of Madrian information.
The Madrians keep using the incorrect term – pentacle.
The pentagram (five pointed star) can symbolically mean a combined

rosary-rose-2-stars-madrian
Divine Mystery Symbols around the central Rose and Pentagram. Large Pentagram and Madrian Rosary surrounding the central symbol. From Appendix 2 The Rosary in The Catechism of The Goddess. In The Coming Age magazine, Issue 4, Autumn, 1976 states that new editions of the Rite and Catechism have been produced with some illustrations.

Divine Drama:
(drawing the pentagram)
Top point: Moura: Spirit: Fora: Purity and Divine Love of Dea creating our spirit.
Left Lower point: Autumn: Earth: Apple: Choosing to incarnate into matter.
Right Top point: Spring: Water: Dove: Suffering and Sacrifice of Di-Jana’s soul shattering.
Left Top point: Winter: Air: 5 Pointed Star: Di-Jana immanent with us, star of Her Guidance.
Right Lower point: Summer: Fire: 5 Petaled Rose: Di-Jana leading us to through the Divine Fire, we are purged of imperfection and return to our first purity, touching Spirit (Top point) again.
Our personal assumption/re-unification with Dea.

with

human-ages-and-elements-pentagram
Human Ages and Element Symbols around the central Rose and Pentagram. Madrian Rosary surrounding the central symbol with phases of the moon as a border. From The Coming Age magazine, Issue 8, Autumn, 1978.

Human life:
(round sunwise/clockwise)
Top point: Moura: Darkest Hour before the Dawn: Spirit: Birth/incarnation to learn a spiritual lesson
Right Top point: Spring: Dawn/Sunrise: Water: Childhood
Right Lower point: Summer: Noon: Fire: Youth
Left Lower point: Autumn: Twilight/Sunset: Earth: Maturity
Left Top point: Winter: Midnight: Air: Old Age
return by the gateway of death to Spirit (Top point) again.

Rose (5 petals)

madrian-rosary
Madrian Rosary with Rose and Pentagram From The Coming Age magazine, Issue 2, Moura, 1976

“This Rose has also been seen as a type of the human soul, aspiring for fulfilment in the multifoliate Rose of the Divine, and exemplifying the transcendent virtues of simplicity and humility.
…In the meditation of The Three Roses, each soul is described as a petal of the multifoliate Rose which is the Mother-Heart of the Goddess, retaining its fragrance although scattered. This is particularly the white rose, the rose of pure love which is “unfolding and everlasting, which changes not nor ever will change.” The white rose is also seen as creator and sustainer of the universe, and is thus a symbol of the Mother.”[1]

“As the emblem of perfection, the rose represents the end of all searching and all desire – thus journey’s end, the aim [replacing goal] of the spiritual quest which is pre-eminently symbolised by the Way or faith.

The journey of the soul is the central meaning of all religious practice…”[2]
The aim is personal assumption/re-unification with our Divine Mother – Dea whose unconditional love is “the Rose that is the Flame and the Flame that is a Rose.” [3]
She who is Eternal, Essence, Spirit, Joy, Perfection.

Notes:

[1] Symbolism: Rose and the Ear of Corn from The Coming Age, Issue 3, Summer, 1976
[2] Symbolism: The Rose and the Way from The Coming Age issue 7, Summer, 1978
[3] The Catechism of the Children of the Goddess [Dea] Appendix 1: Making The Pentacle.
The Sacred Myths and Rites of the Madrians, edited by Philip P Jackson

Two
The Rose and Pentagram can mean:
The 5 pointed star (pentagram) representing “the Silver Star of the Waters symbolises the Mother as Creatrix of the world, Whose light shone over the sea before the shaping of Her creatures.” [1]
The 5 petaled rose representing Her creatures, specifically axial beings: humanity. [2]

Notes:
[1] Symbolism article: Star and the Sacred Grove from The Coming Age, Issue 5, (maybe Winter, 1976 unconfirmed as yet)
[2] Previous section: Rose (5 petals) Symbolism: Rose and the Ear of Corn from The Coming Age, Issue 3, Summer, 1976

Three
The Rose and Pentagram can also mean:
The 5 pointed star (pentagram) representing “The Daughter as the Guide of [replaced with:] humanity, is symbolised by the guiding star, the hope of travellers.” [1]
The 5 petaled rose representing “Rose has also been seen as a type of the human soul, aspiring for fulfilment in …the Divine…” [2]

Notes:
[1] Symbolism article: Star and the Sacred Grove from The Coming Age, Issue 5, (maybe Winter, 1976 unconfirmed as yet)
[2] Symbolism: Rose and the Ear of Corn from The Coming Age, Issue 3, Summer, 1976

Four

It could have been inspired by “Pythagoras and his disciples revered Venus and the pentagram was a key symbol in their secret Brotherhood… The Roman …“Rose of Venus… or the medieval Rose Window at Eglise Saint Remi Chapel in Troyes, France.”
https://mydevotionstodea.wordpress.com/2016/12/04/evening-star-venus-the-great-mother/

~~~

Symphia
I cannot find this symbol.
It seems to be Latin which I cannot translate “Symphorianus a symphia fuit enim tamquam vas musicum emittens armoniam virtutum”
http://www.europeana.eu/portal/en/record/92004/BibliographicResource_2000059192637.html

Also used by American composer Abe Holzmann for his Symphia Waltzes (1902). “Symphia is a newly coined word – Webster would define it to mean “meritorious, worthy, lasting.””
https://en.wikipedia.org/wiki/Abe_Holzmann
Sheet music: http://billsaudioreferencelibrary.com/files/Symphia.pdf

Hestia, Vesta. Ever-living flame of the hearth

From http://foihomepage.blogspot.co.uk/2016/12/blessed-2017.html

“Hestia, Vesta. Ever-living flame of the hearth.
Life is eternal, and manifests – by rebirth through the Mothers.
Fires and candles re-lighted from past flame.
Life renewal.”

Lawrence Durdin-Robertson, ‘Juno Covella’ – December 31st entry.
Fellowship of Isis

 

hestia-as-ten-of-cups-in-universal-goddess-tarot-by-maria-caratti-antonella-platano
Hestia as Ten of Cups in Universal Goddess Tarot by Maria Caratti & Antonella Platano
Hestia in Oracle of the Goddess by Anna Franklin & Paul Mason (as Vesta)
Hestia in Oracle of the Goddess by Anna Franklin & Paul Mason (as Vesta)
Hestia in The Goddess Oracle deck by Hrana Janto & Amy Sophia Marashinsky
Hestia in The Goddess Oracle deck by Hrana Janto & Amy Sophia Marashinsky
Hestia in The Goddess Wisdom Cards by Jill Fairchild, Regina Schaare & Sandra M. Stanton (as Vesta)
Hestia in The Goddess Wisdom Cards by Jill Fairchild, Regina Schaare & Sandra M. Stanton (as Vesta)
Hestia in Goddesses of the New Light by Pamela Matthews (as Vesta)
Hestia in Goddesses of the New Light by Pamela Matthews (as Vesta)
Hestia in Ancient Feminine Wisdom by Kay Stevenson & Brian Clark
Hestia in Ancient Feminine Wisdom by Kay Stevenson & Brian Clark
Hestia in Goddess Guidance Oracle Cards by Doreen Virtue (as Vesta)
Hestia in Goddess Guidance Oracle Cards by Doreen Virtue (as Vesta)
Mythic Oracle by Carisa Mellado & Michele-lee Phelan
Mythic Oracle by Carisa Mellado & Michele-lee Phelan
Hestia in The Goddess Oracle Deck by Thalia Took (as Vesta)
Hestia in The Goddess Oracle Deck by Thalia Took (as Vesta)
Illustrations from https://landofgoddesses.wordpress.com/2013/10/19/hestia-vesta/

 

 

Hestia (Vesta)

[I have used a spell checker on this article, Sorella (Sister) Sophia Ruth]

From https://landofgoddesses.wordpress.com/2013/10/19/hestia-vesta/

Hestia (Vesta)

HESTIA (VESTA)

A Hellenic goddess of house, home, hearth and family as well as order and organisation. Hestia is Cronus and Rhea’s eldest daughter and a sister to Demeter, Hera, Zeus, Poseidon and Hades. She has never got married nor had children herself.  There was Hestia’s sacred hearth in every house,  village or town of the ancient Hellenic world and the first offering was always dedicated to this goddess. Her name means hearth, fireside. She was venerated in Rome as Vesta and considered to be one of the top deities of a Roman pantheon.

ABOUT GODDESS

Hestia was highly respected for her immaculate nature. She disapproved bloodshed, did not participate in wars and intrigues, did not gossip nor was spiteful. She valued peace most and apparently was disgusted by the behaviour of Olympic deities because she gave her place in the council of gods to Dyonisos as soon as he came to the mount (there could be no more than twelve deities in the Olympian council). Despite Poseidon and Apollo’s wooing she decided to stay a virgin.

Hestia was particularly respected as a goddess literary closest to people. She resembles an Egyptian goddess Maat in the way that she does not appear in a lot of myths and does not have many temples, she is, however, a base of social order in Hellas and her cult is manifested through rituals. A hearth was situated in the centre of a Hellenic house, giving the inhabitants warmth and shelter when darkness fell, being a place where both sacrifices were offered to gods and food was prepared for people. When a baby was born, it was carried around a hearth and the family was asking the goddess for blessings, the child was then put on a cooled down ash of a heart to introduce it to heaven and earth. A marriage rite in ancient Hellas focused on a hearth too; a bride’s mother was lighting a torch up in the hearth of her house and was carrying it in a procession to newlyweds’ house where a new fire was lit up, from that moment marriage was considered to be concluded. Prayers have always begun with invoking Hestia, women have asked her to protect their children and grandchildren; she was also called upon before setting off a journey to help travelers come back home safely. It was a form of an early divination to observe a smoke from burning altars to see whether gods accepted the offering or not: if the smoke was rising straight to heavens, it was an omen of gods’ grace but if the smoke was circling down among altars, it signified that deities were not supportive.

Her sacred flame was present in every Hellenic settlement, people were watching over it carefully because if fire extinguished, it would signify gods’ disgrace (on a more practical level it was not easy to rekindle it in the times when matches have not been invented yet). The flame was only extinguished to be ritually renewed during the purification ceremonies. When ships were leaving Hellas to start a new colony, there was always a flame from the city they were setting off. This flame burning in a new place was a symbol of unity between the colony and its hometown. Outlaws and those escaping a vengeance or being chased, found a refugee by her altar, no one could hurt them from that moment on because they were protected by the goddess.

Hestia’s cult as Vesta has developed in a special way in Rome where her temple was the only sacral building of a round shape and having a roof to protect the sacred flame against the rain. Similarly to the inhabitants of Hellas, Romans also believed that fire represented their state and it was essential to keep it burning, however according to Georges Dumezil* they have associated Vesta strictly with earth and its burning core hidden under a crust which was sometimes breaking through  e.g during the eruption of a volcano. They also noticed the connection of fire with the nature’s cycles, cultivation and life, especially with the beginning of life**. Also similarly to Hellas, Vesta’s altar was a hearth in atrium; she was likewise associated mainly with women who generally functioned in a family space, not a public one. Interestingly, when it comes to order of Roman prayers Vesta was called upon as the last deity, not the first one as in Hellas.

Vesta’s sacred fire was watched over by six (seven in the end-stage era of Rome) vestal virgins i.e. Vesta’s priestesses. The service at the temple lasted thirty years; Rome’s high priest (pontifex maximus) was choosing girls of preschool age originating from the patrician families who were to move to a three storey building of Atrium Vestae near forum.

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Here is the reconstruction.

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There were twelve younger girls in the house apart from main vestal virgins, they were adepts who were preparing themselves to the service in the goddess’ temple and vowed chastity for thirty years (it liberated them from the custody of their fathers and other men, a vestal virgin was the daughter of a state). The thirty years of service was divided into three decades: for the first ten years they were learning, for the next ten years they watched over the fire and for the last ten years they were teaching young girls. There were not many requirements for a girl to become a vestal virgin, she only had to be healthy and sane, both her parents had to be alive and Roman citizens (at first only patricians, later also plebeians were included). In case of one of vestal virgins’ sudden death, candidates to take her place were presented, the only requirement was woman’s good opinion; she didn’t have to be neither a child nor a virgin, usually young widows or even divorcees were appointed (although divorcees were considered to bring bad luck). Vestal virgins were easily recognised by their apparel, apart from a regular tunic and stola, they were wearing a white woolen fillet called infula, a white woolen veil worn during rituals and sacrifices called suffibulum,  white and red woolen ribbons symbolising Vesta’s fire and the vow of chastity and a long shawl draped over a left shoulder called palla.

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Vestal virgins’ duties included keeping the fire from extinguishing (allowing that happen was punished by flogging), bringing water from a sacred spring, taking care of sacred objects such as palladium***, preparing ritual food and mola salsa, a mixture of salt, flour and wheat, which was later used to sprinkle animal victims. Vestal virgins were so respected that they were often put in charge of executing testaments  (this is what Julius Cesar and Mark Anthony did among others). Any inhabitant of Rome could receive fire to take it to their house and in the times of Empire, Vesta’s hearth was considered to be the emperor’s household fire.

Breaking the vow of chastity was punished by being buried alive in a tomb on Campus Sceleratus (Evil Field) with a supply of food and water for a couple of days only. This way of punishing resulted from the interdiction of spilling blood and burying within the city limits. During one thousand years of Vesta’s fire cult only several of such cases were noted. The one from 114 BC is particularly interesting when as many as three Vestal virgins Aemilia,  Marcia and Licinia were condemned death for ‘multiple adultery’; most probably their processes were fabricated and they became scapegoats. Evidence against them included the Sibylline prophecies and witnesses describing literally orgies taking place in the Vestal house; the process itself was provoked by a thunder striking a traveling girl so superstitious Romans immediately thought of that as of gods’ anger and started to search for a reason***. According to the legend Rhea Silvia, daughter of King Numitor of Alba Longa was also punished this way. Numitor’s brother seized the throne and forced Rhea Silvia to become a Vestal virgin hoping this will prevent her from giving birth to a potential avenger who in turn would deprive him of power. However, Mars the god of war took advantage of Rhea Silvia who gave birth to twins Remus and Romulus. Children were left in a forest to die there, luckily their divine father sent a she-wolf to feed them with her own milk. Shame on him that he show no similar care about their mother and did not save her from the consequences that she had to face because of him; after all such deux ex machina (unexpected turn of events) is often featured in myths of Hellenic gods who seduced mortal women.

This story may be the symbol of how women were treated in Rome, it must be noted that comparing with average female inhabitants Vestal virgins were an exception. They were ‘the daughters of Rome’, so did not belong to their fathers, brothers or sons, they were respected, could act independently, vote, possess and manage property, give oaths because their word was trusted without question. They were free to travel in a carriage preceded by a lictor, they were participating in celebrations and performances with the right to sit in a reserved place of honor and had right to free a condemned prisoner (which they showed by touching him,  also if a person sentenced to death saw a Vestal on his way to an execution place was automatically pardoned). Because of Vestal virgins’ immaculate reputation they were entrusted with particularly valuable state documents such as treaties. Their person was sacrosanct so every attack on a Vestal virgin was considered to be a coup d’etat and punished by death for treason.

The chief Vestal (Virgo Vestalis Maxima or Vestalium Maxima – ‘the greatest, the eldest of Vestals’) was the only woman to be included in the College of Pontiffs gathering all the high priests of native Roman cults. After 30 years of service a former Vestal virgin was obtaining a pension and had the right to leave the temple, get married and give birth to children. A marriage to a former Vestal was considered to be a huge honour and very lucky. Emperor Elagabalus did something more and married a Vestal virgin Aquilia Severa who was an officeholder at the time of her marriage. It was a very logical thing to do from his point of view as a follower of Eastern religions (vide post about Ishtar and the institution of sacred marriage between a king and a high priestess), however the Romans considered it to be a sacrilege.

The flame in the temple was renewed every year on March 1st and the goddess’ festival called Vestalia was celebrated between 7th and 15th of June. The temple was the place where no one except of Vestal virgins had access to but on the first day of festival mothers were allowed to enter it to bring the offering of food.

Vesta’s flame had been burning in Rome for about nine centuries until it was extinguished in 391/394  of our era when Emperor Theodosius forbade any other religions than Christianity. According to contemporary recordings Serena, a Christian and Emperor’s adopted daughter, entered Vesta’s temple, took a necklace off the statue of Rhea Silvia and put it on. An old woman, Coelia Concordia, the last Virgo Vestalis Maxima, got indignant seeing such an act of sacrilege and prophesied a punishment to her. Indeed, Serena had later the dreams about her own death (and she died executed during the siege of Rome in 409, accused of conspiring with the enemy and high treason). An old Vestal was not the only one who got outraged at what Theodosius was doing; plenty of Romans was saying aloud that the sack of Rome in 410 by the Visigoths led by King Alaric and the following fall of an actual power of Roman Empire was a punishment for a Christian annihilation of cults celebrating deities who were protecting the Eternal City for almost one thousand years.

IMAGES, SYMBOLS AND ANIMALS

Some  sculptures of Hestia remained presenting her as a majestic woman wearing simple clothes and a veil and holding a stick or a staff in a hand. She was, however, mainly represented by a hearth and a burning flame itself.

Hestia

Notes:

*Georges Dumezil, a French philologist exploring the roots of proto-Indo – European, presents numerous similarities between the Vedic (Agni), Persian and Hestia/Vesta cult of fire. The cult of fire and purity remained to this very day in the Zoroaster rites. Similarities with Celtic goddess Brigid are obvious, too.

** Esoteric tradition recognises Fire as the beginning, the first element followed by Water, Air and Earth. First four figures of Major Arcana in Tarot correspond to this division: The Mage, The High Priestess, The Empress and The Emperor as well as the traditional order of Minor Arcana: Wands (Fire), Chalices (Water), Swords (Air) and Coins (Earth).

***It also included protecting sacred objects such as palladion, a wooden statue of Pallas Athena which as the legend says was saved by Aeneas from burning Troy. Palladium was the symbol of city and its civilisation.

**** Additionally these are recordings of stories which seem very similar to Middle – Age legends. One of them tells the story of a Vestal virgin Tuccia who brought the water from the Tiber to the temple of Vesta in a sieve to prove her innocence (told by Pliny the Elder). Another legend speaks about a Vestal virgin Aemilia who let the sacred flame extinguish by accident and asked Vesta to protect her against the punishment. She rekindled the flame miraculously by throwing a piece of garment on the coals of the hearth (it brings the resemblance with Brigid and clooties).

Based on Mity Greków i Rzymian by Wanda Markowska, Dictionnaire de la mythologie grecque et romaine by Pierre Grimal, The Greek Myths by Robert Graves, Wikipedia and http://books.google.pl/books?id=cRS3E3u3HuAC&pg=PA104&lpg=PA104&dq=114+b.c.+vestal+virgins&source=bl&ots=KmguiRMVfX&sig=i6sp2-vfotMzp9TBhRX_reS2n7g&hl=en&sa=X&ei=1nu3T6SZCdDHtAbez7nzBw&redir_esc=y#v=onepage&q=114%20b.c.%20vestal%20virgins&f=false , http://www.roman-colosseum.info/roman-clothing/vestal-virgins-clothing.htm .

Hearth Blessing Day

Reblogged from

https://deanic.com/2017/01/05/hearthblessing/

12 Hestia/Jan. 6

Hearth Blessing Day

aaeaaqaaaaaaaasraaaajdgzyze0m2filtk2n2mtndmwny04zgvmltm0otbmogrjzgeyzgToday (12 Hestia/Jan. 6) is Hearth Blessing in the Janite Tradition. This is the day, (or over the weekend is fine), when we bless our hestias (sacred homes) for the coming year. For those who missed it, here is a truly informative article on Hestia by Sorella Sophia Ruth: https://mydevotionstodea.wordpress.com/

Where the sacred month of Hestia focuses on the hearth, both literally and symbolically, it is a proper time of year for the home blessing.

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When we bless our homes, we are formally consecrating and dedicating them to Dea. We are placing our homes beneath Her Mighty Mantle of Protection and under the watchful care of the Janati. This is why we call our homes, hestias, because for Janite Deanists, an hestia is a sacred home, one which has been blessed, consecrated and dedicated to Dea.

There are two versions of this blessing, the Blessing Rite and the longer, Consecration Rite.

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For the both rites, begin by making holy water if you do not already have some on hand. It’s best to use a natural, flowing water. Sources for such water are rivers, lakes, brooks and underground springs. I keep extra on hand in a large mason jar. You also need sea salt or kosher salt.

Pour some salt in your left hand. With your right hand, fold the pinky and ring fingers down while crossing the thumb over them. Your fore and middle fingers remain upright (this is the Blessing Hand). Trace the Fora over the salt and say: May this salt be blessed, in the Name of the Mother, and of the Daughter, and of the Great Mother.  Iot ‘E Voh. Then, with your right hand, take three pinches of salt and pour them into the bowl of water. Pour any remaining salt along the inside of your threshold as a blessing and protection of the home.

With wand or finger, stir the water three times clockwise. Form Blessing Hand and trace the Fora over the water while saying: May this water be blessed in the Name of the Mother, (trace Fora a second time), and of the Daughter, (trace Fora a third time) and of the Great Mother. Iot ‘E Voh.

Hestia Blessing

Take a small evergreen branch that you found on the ground and dip in holy water as needed. Bless each room of your house, beginning with the East wall. Sprinkle (asperge) the holy water towards each wall, each window, each doorway and each corner of the room, clockwise, while chanting, ‘this hestia is blessed in the Name of the Mother, and of the Daughter, and of the Great Mother. Iot ‘E Voh.

Continue with each room in the house, the cellar and towards the attic. You may also stand in your yard and bless in the four cardinal directions, if you wish.

~~~

This is a very thorough blessing in and of itself. It reminds me of how the Russian Orthodox priest would come and bless our homes in January.  The altar boys would carry smoking incense as they followed the priest. The priest would blessing each room with holy water, towards each wall, in each cardinal direction. He would even bless the cellar!

~~~

Hestia Consecration Rite

As I do with many holy items, I like to bless, consecrate and anoint my home. So, for the Consecration Rite, I will repeat the above, but instead of blessing with with water, I bless with incense. I will use the incense to trace the Fora in each direction while chanting, May this hestia be consecrated in the Name of the Mother, and of the Daughter, and of the Great Mother. Iot ‘E Voh.

The incense can be resin, which is burned on charcoal in a bowl full of sand or in an incense burner, or, it can be a stick incense of good quality.

Finally, I anoint the top of each outside door by dipping my finger in holy oil and tracing the Fora on the outside of the house (either just above the door or near the top of the door) and I say, May this hestia be anointed in the Name of the Mother, and of the Daughter, and of the Great Mother. Iot ‘E Voh.

You should also bless your house whenever you move into a new home.

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Hearth Blessing is a day of rest by the hearth-fire with family and friends, or within the warmth of your hestias, if possible. Warm, nourishing winter foods and beverages, especially those native to your area, make a nice Hearth Blessing feast.

~

May Our Lady bless you,

Blessed is She.

~

ArchMadria Pamela Lanides

Relevant Articles:

Sacred Month of Hestia 26th December – January 22nd
https://mydevotionstodea.wordpress.com/2016/12/26/sacred-month-of-hestia-26th-december-january-22nd/

The Spiritual Significance of Head-wear through the Ages by Sorella Shoshana
https://mydevotionstodea.wordpress.com/2017/01/06/the-spiritual-significance-of-head-wear-through-the-ages-by-sorella-shoshana/

The Goddess Hestia as The Keeper of the Flame
https://mydevotionstodea.wordpress.com/2017/01/04/the-goddess-hestia-as-the-keeper-of-the-flame/

Is Trinitarianism True Monotheism? by ArchMadria Pamela

Reblogged from
https://deanic.com/2017/01/05/is-trinitarianism-true-monotheism/

 Is Trinitarianism True Monotheism?

10 Hestia/Jan.4 Stelladi/Wed.
ArchMadria Pamela Lanides

Recently, Jacqueline, https://underthevioletmoon.wordpress.com/, posted a thought-provoking article entitled, Dea; Singularity and Multiplicity.Additionally, as mentioned in the previous Bits and Pieces, Sorella Sophia, quite independently, contributed to this subject with her own in-depth article, Sun Symbol, Still Pointe at the Centre of Manifestation. https://mydevotionstodea.wordpress.com/. I encourage everyone to read these two articles.These articles bring up a question we need to address which is, can Trinitarians truly consider themselves to be monotheists?

Trinitarian ‘monotheists’ believe there is “One God in Three Divine Persons”. This basically means that there are Three Unique, Intelligent, Individual Persons with the same Divine God-Essence/Nature/Source. A non-Trinitarian monotheist believes that there is only One Person with God-Essence/Nature/Source.

As Trinitarians, we perceive our monotheism as differentiating us from polytheism. But, in doing so, are we over-looking the difference between ourselves and those who are truly monotheistic? Is our belief in One God Who is Three Persons the same as the belief of a God Who is only One Person such as the God of Judaism and other non-Trinitarian Faiths? If we really think about it, is it at all logical to say that believing in Three Persons is basically the same as believing in One Person; that both beliefs equally constitute monotheism? Non-Trinitarians don’t seem to think so.

The shamrock has traditionally been used to illustrate the One God in Three Persons doctrine.  The shamrock is one plant; it has one stem, but from that one stem grow three, unique, distinct leaves, and so it is with the Divine Trinity.  The Divine Trinity has One Source/One Nature, one Stem, so to speak, but has Three Distinct Persons just as the shamrock has three distinct leaves. But, can we say that this plant with the three distinct leaves is the same as the one plant with one leaf? No, we cannot logically say they are the same and I think doing so does a disservice to those who truly are monotheistic.

Next, we need to ask the question: if Trinitarians cannot strictly and logically state that they are monotheists, does this indicate that they are polytheists?

Madria Erin, of the Auroran Tradition, recently noted that Trinitarians believe in a Godhead while polytheists believe in a pantheon. But what is the difference between a Godhead and a pantheon?

I love this explanation of the Trinity: https://alexandriantheologian.wordpress.com/2012/10/23/just-a-thought-apple-trees-and-the-trinity/.

This article clearly illustrates how the Persons of the Trinity all stem from the same Source. They are like the Three Distinct Apple Trees who each came from a cutting of the Original Tree. This is an example of the Godhead.

The article goes on to explain how the trees that grew from the seeds of the apples of the Original Tree are not the same as the Trinity Trees, nor is their fruit the same. The pantheons of polytheism remind me of the many apple seeds produced by the abundance of fruit from the Original Tree. While the Trinity Trees are literally taken and grown from part of the One Original Tree, the gods and goddesses of the various pantheons sprout from the various seeds of the many apples and so are not literally part of the Original Tree, nor is their ‘fruit’ the same.

Deanists may extend this same apple tree analogy to the Seven Janati. The Sophian Mythos teaches us that Sophia was placed above (and ruled) the Seven Planetary Powers. She is also known to have Seven Pillars, Seven Stars, Seven Faces, etc. The Deanic Faith teaches that the Janati are the Seven Planetary Powers and that they are like a Silver Light which flowed from Dea, through a prism, producing Seven Intelligent, Individual Living Rays. These Rays have been called goddesses or angels, though all admit that both words fall short of describing Their true Nature.

If the Janati are, as has been defined, Intelligent and Individual, then they cannot be understood to be merely aspects or avatars of Dea. Nor are they abstract powers or created angels. The Janati are individual Intelligences… …PERSONS… Who originated from Dea in the same way that the Celestial Mother and the Holy Daughter originated in the Absolute, She Who is the Great Mother. The Janati flowed out of Dea as Seven Living Intelligences Who have the same God-Nature as Dea.

This is why the Lucienne and Janite Traditions teach that Dea is One and Three and Seven.  If we can believe that One can be Three, why cannot One also be Seven? All stem from the One Godhead.

Personally, and speaking only for myself, I do not believe that Trinitarians, either Christians or Deanists, are strictly monotheistic, but neither are we polytheistic, believing in a pantheon of gods and goddesses who do not stem from the One Source, Absolute Deity. We believe in a unique Godhead of Persons.

~

May Our Lady bless you,

Blessed is She.

~

ArchMadria Pamela Lanides

4 thoughts on “Is Trinitarianism True Monotheism?”

  1. Jacqueline

    Thank you for these thoughts! I’ve actually been finding myself more drawn to non-trinitarian thealogy as of late (I would call it modalist instead) although I still find the subject as a whole fascinating. I do think it makes sense to think of trinitarianism as distinct from strict monotheism as well as from polytheism.

    • Dear Jacqueline, there is certainly a valid and acceptable modalist Tradition within Deanism. In fact, according to my understanding, one of the early schools of Madrianism taught that Dea was One (and not a Trinity). They viewed the Holy Daughter as the Mother in Her Daughter Form. So, rather than a Trinity of Three Persons, it was One Person with Three Forms. Many people are more comfortable with this thealogy rather than with a Trinity of Three Persons.

      Liked by 1 person

  2. fgdsdamjhsdadghnfdsa

    How interesting. I remember reading once about the founders of Christianity coming up with the idea of the trinity as one in order to appeal to pagans. I know many of us are familiar with Mother, Daughter, and Crone within Wicca, a branch of paganism. Now, I have also read about many things in the Christian religion being created to appeal to paganism… such as when certain Holidays are celebrated due to their symbolism and why Christian service is usually on Sunday… instead of what we know to actually be the sabbath or seventh day. I remember once, the church I grew up in trying to teach us that the week actually began on Monday to align with this.

    Now, how true it is that Christianity was created to appeal to pagans, I’m not sure. It’s definitely obvious that paganism is polytheism. But, there are historical links to this thought within such things as the crusades. Although, going this far back in history is new to me and only a very recent area of interest. It seems the further back, the less information, and the more religious society becomes. This would seem to make sense considering where society’s thoughts are. The more worldly we become, the more we focus on recording worldly happenings.

    Another interesting thing to note however is that it seems the more religious a society or culture is, the more war driven it is. Though, this does seem most prevalent with patriarchal religions. I always find the lessons to be learned from the past quite interesting. Though, history must be approached in two ways… with the knowledge we have now as well as trying to understand it from the perspective of those who lived it.

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