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


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.”


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)

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

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
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


“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

“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

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”


“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


“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.”


“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)

Salt from early days had a sacred and religious character


Often, salt is used in purification spells.”


“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

Used in the production of leather.

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
A chant used to invoke mystical powers during rituals and celebrations.
Its origins are cloudy.”


has multiple meanings.

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.”

“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.


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.”

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.

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.”

Not as the sun cross, solar cross, wheel cross shown here:

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.”

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

Sorella (Sister) Sophia Ruth’s own blessing tradition:


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, 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).

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 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

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


“[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.)

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),

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.”
June 21, 2015 at 5:07 pm

Comments on

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).”
April 7, 2016 at 4:31 pm
Comments on


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.

[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


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:

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 booklet 1976
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.

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:

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]
[1] Symbolism article: Star and the Sacred Grove from The Coming Age, Issue 5, (maybe Winter, 1976 unconfirmed as yet)
“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)

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:


or double headed axe has multiple meanings.


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

“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.”

“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.”

[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.


“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.”



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).”

Read this informative article: Labyris – the Double Axe (and the Butterfly Goddess)

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

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.”

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]”

[15] C. Michael Hogan, Knossos fieldnotes, Modern Antiquarian (2007)
[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

Divine Kisses

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


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



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.”


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.

Video: Ian Hodder: “Origins of Settled Life; Göbekli and Çatalhöyük”

See the gallery depicting female figurines/goddess figures and houses:


“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.”

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


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

[30] Keller, Mara (1988). “Eleusinian Mysteries” (PDF). Journal of Feminist Studies in Religion (Vol 4 No 1): 42. Retrieved 2016-06-21.



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]”

[31] Cottingham, Laura (1996). Lesbians Are So Chic. Bloomsbury. ISBN 9780304337217. Retrieved 26 June 2014.
[32] Murphy, Timothy (2013-10-18). Reader’s Guide to Lesbian and Gay Studies. Routledge. p. 44ff. ISBN 9781135942342. Retrieved 26 June 2014.
[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.
[34] SwadePages “Origin & History of Gay & Lesbian Symbols”



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

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.


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 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.


[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

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]

[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

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]

[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


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.”


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”

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.””
Sheet music: http://billsaudioreferencelibrary.com/files/Symphia.pdf

Madrian Geniae Correspondences

A Genia is what a soul was before we fell from perfection, and what those who never fell still are. Those that are called the Celestial Geniae are a particularly important set of Geniae. They each have individual names and special attributes.

These are :
Theia The sun, An orange robe, either riding a lion or with a lion crouching at her feet.

Phoebe The moon, A violet or silver robe, youthful appearance

Tethys Venus, water, A green robe standing on the waves of the sea

Nike Mars, fire, A short red robe and wearing a laurel wreath

Themis Jupiter, air, A blue robe holding a lyre or scales

Rhea Saturn, earth, Indigo or black robe

Metis Mercury, the quintessence, seated in a meditation posture in a yellow robe

The information I gave comes from a hand written copy of a Literary Circle paper which doesn’t scan.
Mr David Kay


Dear friends,

I thought this an appropriate time to give the Madrian correspondences for the Geniae.

Planet	Genia	Colour	Metal	Keynote	Tonic	Virtue
Mars	Nike	red	iron	E	Me	courage

Sun	Theia	orange	gold	C	Do	generosity

Mercury	Metis	yellow	mercury	F	Fa	wisdom

Venus	Tethys	green	copper	A	La	love

Jupiter	Themis	blue	tin	G	So	faith

Saturn	Rhea	indigo	lead	B	Te	humility

Moon	Phoebe	violet	silver	D	Re	purity


Planet	Gem	Tree	Creature	Incense

Mars	ruby	holly	wolf	Jasmin, aloes, sulphur, tobacco.

Sun	diamond	birch	lion	saffron, myrrh, cloves, cinnamon.

Mercury	opal	hazel	owl	mastic, mace, storax, nutmeg.

Venus	emerald	apple	dove	rose, amber, patcholi, sandlewood.

Jupiter	sapphire oak	eagle	balm, nutmeg, cloves, cinnamon.

Saturn	onyx	alder	crow	civet, musk, aloes, brimstone.

Moon	crystal	willow	deer	frankincense, white sandlewood,

				jasmine, copal, eucalyptus.

May She be with you,
Mr David Kay

Notes for writers:

I used notepad to text tabulate with the html code

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