Rite of Sacrifice (Offering) for the Spirit Full Moon

 

Wooden Fora of Faith, Dea candle holder heart shaped 1930s glass and Janya holder wing shaped 1930s glass
Altar for Spirit Full Moon Rite of Sacrifice (meaning Offering)
Close up , no Moura Fora of Faith cloth as yet

 

From: https://deanic.com/the-rite-of-sacrifice-for-full-moons/

and: https://deanic.com/2017/03/12/the-rite-of-sacrifice/

plus private correspondence with ArchMadria Pamela Lanides

Notes:

The Great Liturgy and the Rite of Sacrifice, the original versions of which we have received from the Madrians, are written as basic rituals. They may be served as is or with the addition of other rituals, hymns, poetry, meditation, sacred dance, seasonal writings, divination, a litany, a canticle and other prayers, etc. There is a plethora of seasonal and full moon-related prayers and poems on the internet and there are a lot of great ideas to be found in books on the Wheel of the Year.

The altar cloth should be the color of the Season (Moura is purple or violet). The candles may be either the color of the Season or white.

I prefer to allow our JOP members to be self-expressive in altar set up.

When serving a private liturgy or Rite of Sacrifice, it is not necessary to dress in formal robes, but we should be wearing a skirt or dress and definitely, we should be veiled (chapel veil, mantilla or scarf).

Normally, on Full Moon nights, priestesses and deaconesses will serve the Rite of Sacrifice, but where today is Sunnadi, we will serve the liturgy. Please keep in mind that the weekly liturgy may be served on Foradi, in honor of the Great Mother, on Sunnadi, in honor of the Celestial Mother or on Lunadi, in honor of the Holy Daughter. The choice is up to the individual priestess/deaconess.

Members of the Sisterhood may serve the RoS on the Full Moons and on the Trinity days (Foradi/Sunnadi/Lunadi) if they so desire, although the latter is not mandatory. It would be nice if the RoS is served by the members of the Sisterhood at least on the Full Moons. Exceptions may be made for the members of the Iremian Order who have difficulty with these types of rituals. In that case, they may compose their own prayers, hymns or a more natural method of worship.

Our edition of the Rite of Sacrifice is very close to the original, as found in the Sacred Myths and Rites of the Madrians, with Janite additions and adaptations. It may be celebrated either as a solitary rite or for a family or a group. In a group or family setting, the celebrant should be female, if possible.

Though it is the Full Moon, please use the Preface of the Great Mother/Dark Moon in ritual.

~~~

Preparation:

Clean yourself, get dressed in modest clothing and cover your head.

Blessing hand is the right hand, we hold the thumb and first two fingers of the right hand together, symbolizing the Holy Trinity.

Holy Water
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, hold the thumb and first two fingers together (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. Blessed is She. Iot ‘E Voh.

~

Holy oil is made up of either extra virgin olive oil, almond oil or jojoba oil. To that, you had some drops of a pure essential oil. (And it has to be a pure oil, not synthetic.). It can be any essential oil that we would deem sacred:
Usually Rose for the Celestial Mother
or Red Sandalwood, Ambergris, Musk, Honeysuckle, Benzoi, Verbena, Vanillin, Myrtle, Patchouli or Calamus.
Usually Frankincense for the Holy Daughter
or White Sandalwood, Camphor, Copal, Jasmine, Eucalyptus, Menthol or Rosemary.

Also applicable to incense.
(https://thefuturekept.com/collections/incense)

The oil should be poured into a small brown glass bottle with a cap.
Shake the bottle so the oils can mix. Then, open it back up and trace the Fora over the bottle while saying: May this oil 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. Blessed is She. Iot ‘E Voh.
~

For the blessing and consecration of objects
The Blessing Rite

An inspired reading, hymns, the scriptures, Sophian or Persephone related hymns, or seasonal or moon poetry to be chosen in advance.

~~~

Minimum Altar Setup:

Table or altar placed in the East. The spiritual head of the household, performing the Rite, faces East unless otherwise indicated.

1. One image of Dea [I use a symbol]

2. One candle (flame or electric) [Yes]

3. Incense (for those who are not allergic) [No]

4. Holy water in a Libation bowl. [Yes, an ordinary bowl – object blessed]

5. Holy oil [No]

6. Chalice which is the sacred glass for the white wine or white grape juice (unfermented wine).
No red wine, the wine represents the Spirit, not blood.

Usually, if serving a solitary ritual, do not fill the Chalice with wine. Pour in enough to take three good sips, before the Rite.

7. Patene’ which is the sacred plate for the bread.
In Janite Tradition, the bread represents the Soul, not the Body.

For the white bread (not brown) , take a round cookie cutter or a glass and cut a round piece out of the white loaf and place that on the patene’. Of course, for a group setting, this would be different.

Either the almond cookies (for which A.M. Pamela can supply the recipe in the future…if interested please email me) or fresh bread may be used.

Both the bread and wine are transfused during the liturgy. During the Rite of Sacrifice, they are blessed by Dea.

[Yes to 6 and 7]

~~~
I also have

A Janyati candlestick
A Dea candlestick
2 silver coloured metal candlesticks
A small flower vase
Ritual symbolic jewellery

~~~

C is the Celebrant.

H is the Handmaiden / server.

They are the lay counterparts to the priestess and deaconess.

~~~

The Rite of Sacrifice

But we will certainly do every word that shall proceed out of our own mouth, to sacrifice to the Queen of Heaven, and to pour out drink offerings to Her, as we and our fathers have done, our kings, and our princes in the cities of Judah, and in the streets of Jerusalem: and we were filled with bread, and it was well with us, and we saw no evil. (Jer. 44:17)

Celebrant: Dip fingers in holy water, trace Fora and say:
https://mydevotionstodea.wordpress.com/2016/03/04/tracing-the-fora/ )

In the Name of the Mother and of the Daughter and of the Great Mother. Blessed is She.

C: (and H if there is one present) may also anoint their foreheads and altar with holy oil by tracing the Fora on both with blessing hand.

C:

Blessed is Our Mother God, the Holy One,

She Who is the Celestial Mother,

She Who is the Holy Daughter,

She Who is the Great Mother,

Blessed is She.

PREFACE

C: O, Veiled Cosmic Origin, You Who are the Great Life, Source and Force,

A: Inspire us with Your Wisdom.

TEMPLATION

C/H Let us seek sanctuary of the Janati of the fourfold Earth and of the Three-fold Heaven, that no harmful thing may come between ourselves and our devotion.

C: O, Most Holy Janati, in the most sacred Name of She that we are come to honor

IOT ‘E VOH

(The Sacred Name of Power, IHV by saying the He with the outbreath, it is breathed rather than pronounced. It may also be pronounced Yot ‘E Voh.

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 [Celestial] Mother and Creator of the universe. Vo is the letter of [sacrifice] and is as such it represents the Daughter.”)

(all trace the Fora upon themselves and bow
Bowing may be performed in any one of three ways:

1. Crossing hands over heart chakra with right hand over the left and bowing. (I especially used this pose after I have received communion).
2. Folding hands together, placing the tips of the fingers on chin and bowing. (I tend to use this pose when I am greeting the Janati.)
3. Or hands folded, tips of fingers touching forehead and bowing.)

In the Name of the Mother

And of the Daughter

And of  the Great Mother,

Dark beyond the light

And Light beyond the darkness;

We entreat you that your vigilance shall keep our service pure.

(C: turns to each quarter, tracing in the air, each time, the sign of the Fora  while saying)

O, Madria Grace, Guardian of East and Water, may there be peace, be with us.

O, Madria Vicka, Guardian of South and Fire, may there be peace, be with us.

O, Madria Thema, Guardian of West and Earth, may there be peace, be with us.

O, Madria Sofia, Guardian of North and Air, may there be peace, be with us.

O, Madria Candre, Madria Theia and Madria Rhea, Guardians of Spirit and Center, may there be peace,  be with us.

INVOCATION

C: Madria Dea,

Star of the Shimmering Depths, look upon us.

Light of the nocturnal heavens, Protector of the running deer

And of all free spirits, O, hear us.

We are come to celebrate Your resplendent purity and to solemnly devote ourselves to Your service. Mistress of the Silver-Helmed wave, come among us.

C/H Let us confess together our belief in that which alone is true.

VERITATION / CREED

THE JANITE DEANIC CREED

All (stand)

I believe that I am created from before the dawn of time

by the Eternal One, Madria Dea;

I believe that She is One

and that She is also Three.

~

I believe in the Mother, She Who is Pure Light;

the Creator of the Earth and of the Heavens,

and of all the infinite Cosmos.

~

And I believe in Her Holy Daughter, born of the Holy Mother;

She Who rules all the energies of Creation,

Whose Nature is Perfect Love.

~

And I believe that there is She, Who stands beyond these Two,

Whose Name has not been spoken on this Earth;

for She is the Beginning and the End,

the First Principle and the Final Cause,

the unoriginated Origin of Being;

the Great Mother of all that is and all that is not;

~

I believe in the Seven Janati, the Seven Great Powers of Dea. I believe that

they are the Living Streams of Virtue who flow from the Mother and

that together, these Living Streams form the River of Life.

~

I believe that through the Holy Daughter, we are assumed to Eternal Communion with the Eternal One, Madria Dea, in the Completion of the Wholeness of Her Will.

LECTION

C/H: Let us, who are true believers, receive into our hearts, the words of Our Lady.

(Scripture or Sacred Text reading)

One suggestion for scripture reading during Moura is The Secret of the World. It is an important reminder that we are not perfect and we must always strive to grow closer to Our Lady and not further away from Her.

Free download:
https://theahaus.files.wordpress.com/2014/08/fulltext-of-ncuv.pdf
(with thanks to Glenn King)

July 2012
The Filianic Scriptures, New Celestial Union
Version (Second Edition, Third Update)

26 Verses
Title 3, Chapter 4
Filianic Texts, or the collected sayings of the Daughter of Thea

Teachings of Di-Jana

The Secret of the World

The world is never perfect, and even the most beautiful is riven with kear. The Secret of the World teaches a path of liberation from the imperfection and illusions of this present world.

1. My children, whose souls are My family, I shall speak to you of the things that I have seen. Let no one say that the world is good, nor that the world is evil. 2. For I have stood at the highest point of the world and at the lowest; and from both of these can the world be seen, and from no other. 3. The cosmos is a perfect sphere, even lovelier than the sun, and yet it is all riven through with kear. 4. All that is was fashioned by My Mother out of the laughter of Her heart and the skill of Her hands, and all that is very good, more than any soul can know.
5. But kear is not. Kear is naught. Kear is the black abyss that has turned its face from My Mother and has frowned upon the laughter of Her heart. 6. This abyss of kear lies between the world and My Mother, and every soul and She. For every soul is an image of the world.

[I reject verse 7, as I do not believe in a sacrificial death of the Holy World Soul, Immanent God; Di Jana].

8. and My soul has cried out in her distress; cried out into the echoless void. Truly, there is no suffering like to this suffering, nor any pain of body or of mind. 9. And you, My children, each of you that gathers around Me, each of you in your robe of purest white, each one has this kear within her, and there is not one without it anywhere.  10. For you have also turned from My Mother; each one of you, though remembrance has not potency through the tread of time, has frowned also on the laughter of Her heart.
11. And your souls, your laughing souls, all robed in purest white, that are lovelier than the sun because they are the image of My Mother, are riven through with kear. 12. And your dearest joy must ring as a silver bell that has a crack; sweetly, but never in perfection. 13. Oh, do not say that you are perfect, for then you can not understand either the world or your own selves. 14. Do not say that you are innocent, for that would be to mock My suffering. 15. For I love each of you, and I have proved My love, and shall prove it evermore. 16. For I have conquered death and kear, and I bring to you My conquest. 17. Open your heart to Me, and I shall bring you all the fruit that have reaped in sorrow.
18. Seek not to conquer kear alone nor cleave alone to good, but open your heart to Me,
and let Me live through you, for I shall open the way to your true soul, your laughing soul, all robed in white even lovelier than the sun; and through My suffering she shall be purified. [I have replaced death with suffering see rejection of verse 7].
19. Turn from the evil of the world and come to Me, and I shall lead you to your heart’s true home.
20. Come to Me, My children, in the innocence of your hearts, and look upon the beauty of the world; for everything reflects the glory of Thea. 21. Do not see the world through the eyes of the world, but through the eyes of the Eternal. 22. Know also that the world is not so solid as it seems, but in truth it is an illusion.
23. Change that within you and the world without will change. But seek to change the world, and all of essence will remain the same.
24. And this is the secret of the world which the world would hide from you: that all things lie within the souls of maids, and only the Thea is without.

25. For in order to gain the world, you must give the world away; and in order to attain your desire, you must pass beyond all desire; and in order to find yourself, you must lose yourself; and in order to have eternal life, you must go unto death [Death means the transition from one state to another on the turning wheel of Werde. I reject the end of the sentence see rejection of verse 7]. 26. And this is the secret of the world which all the world will hide from you.

Notes:
Kear:  A crack or flaw, the chasm or abyss that lies between Dea and each soul which opened when we chose to experience material manifestation.

https://mydevotionstodea.wordpress.com/2016/11/21/scripture-title-3-chapter-4-the-secret-of-the-world/

PREPARATION FOR THE SACRIFICE  

C:

Silver Star of the Waters, Who has fashioned all the world into being, beyond all knowing is the Splendour of Your Light. Enfold my spirit, within your Mighty Mantle and may the Pure Stream of Your Grace flow within me, in this world and in all the worlds to come. Blessed is She.

(Each time we ask the blessing of Our Lady over the gifts, we trace the Fora over the gifts. We Trace the Fora over the chalice and over the patene’. This is indicated by a +.)

Madria Dea, we pray that You will Bless  + the gifts we bring to You, for we bring them not only in our own names, but for all who love You; may they be nourished and grow strong in Your true devotion.

Beloved Kyria, we bring these gifts for Your blessing + in the name of Holy Ekklesia, who has gathered all of Your children into one [Soul], knowing no bounds of either time or space.

For we know that Ekklesia transcends this world, even as this sacred altar transcends the earthly stuff of which its parts are made. We know that as we stand before this altar within Ekklesia, we stand at once before Your Celestial Altar, which is both in Heaven and in every place where Your children come together in Your Name.

C: Holds the Sacrifice (bread) in the smoke of incense [or candle] with both hands.

C: We know that there is but one Sacrifice made by all Your children in every place, eternally. Bless + this gift, that we may take part in that one Sacrifice.

(All kneel on one knee. C bows her head.)

IOT ‘E VOH

THE SACRIFICE

C: Places Sacrifice (bread) back on Patene’ (plate).

C: Mother of all that is, accept the gift Your children bring to You.

(All rise. C; lifts the Chalice in her left hand and traces the Fora over it with her right)

C: Let us offer libation to Dea.

She dips two fingertips into the wine and sprinkles a few drops onto the sacrifice. The action is repeated three times. She then traces the Fora, again. (The Bread of Sacrifice may either be safely burned as an offering or placed outside on the ground after the Rite is over with the words, ‘ Return to Mother Nature’ .)

C: Madria Dea, as we drink of the one cup, may Your Divine Spirit be infused within our being.

(The Chalice is passed to all. All drink. If a handmaid (server) is present, she serves them, afterwards drinking, herself. The celebrant drinks last.)

CONTEMPLATION (The celebrant may give food for contemplation, speak about the Mysteries of the season, spiritual truths, etc.)

C/H: Let us kneel before this altar that is both upon Earth and in the Heaven.

(All kneel except C and close eyes).

C: Let us consider that the earthly things we see about us are but illusion and that could we see with clearer eyes, a more glorious vision would appear before us.

Let us feel the Spirit of Dea, as it grows within us and seek to catch a glimpse of that vision.

(C kneels. During Contemplation, certain meditations may be spoken, including the following usual for full moons):

NOT suitable for Moura

[C: Great Dove of the Waters,

Fiery Rose of Heaven,

Help us to aspire to the heart of the flame.

C: You are the Music of the Spheres,

You are the Meaning of all words,

You are the end of every road and also its beginning.

Help us to know you.]

(This may be a time for silent meditation or the celebrant may give a brief sermon for contemplation, speak about the Mysteries of the Season, spiritual truths, etc. Or hymns, meditation, rituals, sacred dance, poetry, etc.)

I said

Fora symbol articles and prayer

https://mydevotionstodea.wordpress.com/2017/02/23/prayers-to-the-great-mother/

DISMISSAL

(C: traces the Fora three times, once at each blessing as indicated +)

C:

+ May the blessing of the Mother be upon you and upon this world.

+ May the blessing of the Daughter be upon you and upon this world.

+ May the blessing of the Great Mother be upon you and upon this world.

Dark beyond the Light and Light beyond the Darkness.

C/H:

Beloved Kyria, we pray that you will bless us on our parting from Your Temple and infuse us with Your delight, so far as we are able to contain it.

SILVER LIGHT OF THE FORESTS

A:
Silver Light of the darkling forests, send us forth in the protection of Your Spirit that no profane thing may enter into us.

Grant us to see all things with delight that are lovely and to glory and increase in force and energy.

Fill us with wonder in the sight of the seas and of the heavens and of every place wherein You are.

Commander of the roaring wave, help us to turn from all that is low or inglorious neither with anger nor with pain, but to know that in You we stand above all such things.

Guiding Light of the faithful soul, fill the deepest caverns of our spirit with the exhilaration of Your love. Send us forth upon the world as torchbearers of Your delight and grant us strength in You and in ourselves that we may value all things rightly, regardless of the consuming weight of the profane and the frailty of all that is beautiful.

C: (Makes the sign of the Fora and says)

In the Name of the Mother

And of the Daughter

And of the Great Mother.

Blessed is She.

C: Raise arms, palms facing upward and say:

Let us bless the Holy One.

Blessed is She.

C: Fold hands and say:

Let us thank the Seven Janati of Power.

Thanks be to the Seven Janati.

Thus may it remain. (Bows).

 

~

    • We believe that like Sophia/Shekinah, the Holy Daughter suffered a Descent through the Realms in order to become the World Soul or Soul of the World, the Soul of humanity. By taking on rarefied Form, She becomes Soul. In giving Herself to us in this Earthly state of density and isolation, She, as the World Soul, becomes shattered. Thus, She represents the ultimate archetype of selfless sacrifice.

    Just as the soul allows for the opposites of body and spirit to unite, so too does the Shekinah play this role for us.  Indeed, the Shekinah is the Soul of Man, what Kabbalists call the Neshamah, for She has given a portion of Herself in order for each human to come into being in this world.  In giving of Herself to humans, in this state of physical density and isolation, the World Soul becomes shattered. This shattering can be metaphorically grasped in considering what might happen to a glass alembic or flask when too much pressure is put upon in the alchemical works.  Thus, the Shekinah represents the ultimate archetype of selfless sacrifice.  All Her sacrifices have been for the benefit of creation so that humankind may experience this life in order to fulfill its destiny and purpose.

    http://www.universalkabbalah.net/Shekinah

~~~

With thanks to https://www.etsy.com/uk/shop/AgathaBee
AgathaBee
in Bucharest, Romania

White Star
Material: cotton
handmade crocheted doily.
diameter 10.23 inch/26 cm

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Wooden Carved Fora (Solar Cross) for my altar

This vintage handmade, rough carved wooden celtic cross arrived today to adorn my altar as a Fora of Faith (Solar Cross) for the remainder of the Sacred month / season of Moura.

Vintage Wooden Celtic Cross Hand Made 7
Vintage Wooden Fora of Faith 20 inches
Vintage Wooden Celtic Cross Hand Made 5 Front Celtic Knot
Celtic centre piece symbolising the principles / elements flowing out from Spirit / Dea in the Centre

A wealth of information on the Fora by ArchMatrona Ghrian

Scottish Agate and Crystal Celtic Cross Brooch
Scottish Agate and Crystal Celtic Cross Brooch

Although the two words are spelled alike and sound alike, it is my understanding that the word “fora”, used to describe the main symbol of the Deanic faiths, is not related, etymologically, to the other word “fora”, the plural of “forum”. The word “fora” used to mean a Deanic symbol is said to have been derived from an ancient Mother Tongue. Whereas, the other word “fora” is known to have been derived from Middle English via Latin.

The Latin word “fora” is the plural form of “forum”. The Latin word “fora” means “marketplaces” or “public spaces” and has been extended to include the idea of “discussion boards”.

The ancient Mother Tongue word “fora” means “foundation” or “fundamental” because it is a symbol of the “foundational form” or “fundamental pattern” of the “foundational-fundamental principle of the Cosmos”.

The Mother Tongue word “fora” refers to a symbol made up of an equal-armed cross with horizontal and vertical bars surrounded by a circle, with the arms/bars of the cross originating in the middle, and reaching beyond the circle. The Center point, where the arms/bars originate, and from which they extend, is symbolic of (among other things) the Supernal Sun (Heart-Source-Origin), Dea, Herself. Therefore, the Deanic “fora” represents the Supernal Solar System.

The Center Point is, also, at the same time, symbolic or Dea, as The Sacred Mountain, The Holy City, The Holy Palace, The Fountain of Life, and/or the Tree of Life in the Center of the Sacred Garden of Avila (a Celtic word meaning “Apple Orchard” and referring to the Celtic “Other World” from which All Life originated, and to which all Life returns).

The arms of the “Fora” may be straight or curved (indicating a straight road, a curved road, a river or a growing plant).

celtic cross fleur-de lis hearts lapel pin
celtic cross fleur de lis hearts lapel pin

Example: One Deanic “Fora” design shows each of the four arms shaped as a “fleur de lis (“lily”). The different shaped arms indicates that there are many “forms” the “way/road/river” of “life” may take. The “four arms” represent the Four Earthly Geniae (Genetrices) of the Four Cardinal Directions, which Flow out from the Central Fountain of Dea, or Shine forth from the Central Light of Dea, and so forth. The Three Heavenly Geniae (Genetrices) are represented by 1) the “invisible” Central Point, 2) the space “within” the circle, and 3) the space “beyond” the circle.

The Circle is the “protective energy field” or “walls” surrounding the Sacred Mountain/City/Palace/Garden/Fountain/Tree. It is also the “sacred aureole-halo-nimbus emanating from the Holy Light of Dea Herself”.

Regards,

ArchMatrona Ghrian

Oct 12, 2015

https://groups.yahoo.com/neo/groups/deanic_conversations/conversations/topics/2027

Minimal Covering – Hair Combs, Headbands, Fascinators

Minimal Covering
Hair Combs, Headbands, Fascinators

Cloud
The “cloud” is described in 1870 as being “a light scarf of fine knitting over the head and round the neck, [worn] instead of an opera hood when going out at night.”
https://en.wikipedia.org/wiki/Fascinator

This reminds me of my ‘eternity snood‘ similar to this:

eternity-snood
Knitted Eternity Snood

http://www.ebay.co.uk/itm/UNIQUE-LUXURY-HAND-KNITTED-DESIGNER-COWL-SCARF-INFINITY-SNOOD-WINTER-WHITE-/282374958142

Fascinator
Since the 1990s the term refers to a form of formal headwear worn as an alternative to the hat; it is usually a large decorative design attached to a band or clip, sometimes incorporating a base to resemble a miniature hat, in which case it may be called a hatinator.
https://en.wikipedia.org/wiki/Fascinator

Variations:
http://www.ebay.co.uk/itm/Girls-Ladies-Woman-Warm-Fashion-Snood-Cowl-Scarf-Tube-Loop-Neckwarmer-/222021094073
http://www.ebay.co.uk/itm/Hooded-Scarves-Paisley-Scarf-Hood-Hat-Wrap-Shawl-Cosy-Soft-Fleece-Poncho-Hood-/172549434126
rainbow-lampwork-beads
In the Deanic Faith, colours, gemstones and flowers have correspondences to Janyati, our Sacred Seasons, all originating in our 3 Holy forms of Dea.
https://deanic.com/the-seven-great-geniae/correspondences-of-the-seven-geniae/

Dianthus Everlast trademarked name
The Great Mother: 5 petals of a darker purple dianthus

dog-rose-2
The Celestial Mother: 5 petals of the dog rose or a lighter pink apple blossom

Calla Lilies and Dusk Skies
Wild Calla Lilies Grove – Garrapata Beach by Don Smith Photography

The World Soul Daughter: Lily or interchangeable with an Iris

Conduct an internet search for decorative hair combs and decorative headband.

How to make a fabric rose
http://treyandlucy.blogspot.co.uk/2010/09/flower-in-my-hair.html

diy-fascinator-with-lace-roses-600x399
Lace roses on a hair clip

How to make a lace flower

http://www.elizabethannedesigns.com/blog/2010/06/02/past-to-present-diy-projects-and-instructions/

How to make a flower and tulle decoration for a hair comb
https://apracticalwedding.com/how-to-make-a-sparkly-floral-fascinator/

How to make a velvet bow
http://iwearthecanvas.blogspot.co.uk/2011/12/diy-fri-vintage-inspired-velvet-bow.html

head-band
Decorative Head Band

How to make a decorative headband
http://www.cremedelacraft.com/2013/11/DIY-Wedding-Hair-Accessories-Headband.html

How to make a Knitted Bow Headband
https://bustedbutton.com/2012/11/14/knitted-bow-headband/

How to make a felt and elastic Fascinator (photos)
http://thegirlinspired.com/hats/

How to Make a Feather Flower Fascinator
http://offbeatbride.com/diy-feather-fascinator/

How to Make a Flower & Netting Fascinator
http://www.create-enjoy.com/2011/08/my-birdcage-veil-tutorial.html#.UDR7btYgc72

How to make a crochet trivet & Netting Fascinator
http://www.simplesimonandco.com/2011/09/little-girls-birdcage-tutorial.html/

How to Make a Silk Floral Fascinator
http://www.craftstylish.com/item/48343/how-to-make-a-floral-fascinator

How to make a Faux Leather Fascinator
http://www.mistyillusions.org/marysew/?p=1056

See article: http://visforvintage.net/2012/08/30/fascinator-history-of-a-hair-accessory/

The Reasons for Deanic Head Covering

The Reasons for Deanic Head Covering

by ArchMadria Pamela Lanides

The other day, I saw a woman go to mass in skin tight yoga pants. In summer time many of these women and girls wear shorts to church. This is a church where just a few decades ago, the women wore dresses, skirts and chapels veils or hats and the men wore suits and ties.

~

Dressing decently for worship showed respect for the “meeting place” between Heaven and Earth. It further showed reverence for God, the Blessed Sacrament and for the angels who were present at mass.

~

Traditional Catholics still dress this way for mass. Spanish women wear their beautiful, traditional mantillas during Holy Week in Spain. Many Eastern Orthodox women wear head coverings in church, as well and, of course, Orthodox Jewish and Muslim women cover their hair. True modesty and dignity of dress need never be frumpy and unattractive.

~

Who, having been invited to an important dinner function where dignitaries would be present, would wear yoga pants, jeans or shorts to the function? No-one. We would wear our very best. Why do we no longer wear our very best for God? Lately, it seems that more Christian women, coming from different denominations, are recognizing this problem and are beginning to look at veiling for church in a new light.

~

It is amazing how many neo-Pagans and Wiccans are drawn to veiling during their Esbats, Sabbats and other sacred rites. It seems that it is especially those devotees of goddesses who are usually depicted as being veiled, such as Hecate and Hestia, that feel called to do so. It is an holy and altogether intensely feminine custom and people do it for differing reasons.

~

As Deanic women, we take pride in dressing both in a feminine manner and with basic modesty in our daily wear. This does not mean we must wear skirts to our ankles and sleeves down to our elbows (although there is nothing wrong with that), nor do we feel the need to completely cover our hair, but we dress with common decency and with respect for both ourselves and for others.

~

Some of our members ‘cover’, that is, they wear a head covering when out in public. There are many different reasons for doing so and we support them in their choice. Many of them, as they place their scarf or hat on their heads will consciously ask Our Lady to place them beneath Her Great Mantle of Protection. The scarf or hat then becomes symbolic of Our Lady’s Mantle.  (By the way, the idea of Our Lady’s Mantle of Protection originated with the Catholic Church.)

~

A majority of our members do not ‘cover’ in this manner, but we do veil during our sacred rites. Many will immediately say to me, well, what about men? Customs do not always have to be the same for men as for women. I grew up during a time when it was considered rude, inconsiderate and extremely bad manners for a male to wear a hat indoors. Now, they do, even in restaurants which boggles my mind. That is something that I will never get used to. But, some men might feel drawn to wear a men’s religious head covering during religious rites and that is fine. Baseball and other sports types of hats are not appropriate for religious rites.

~

Recently, in addition to wearing my mantilla chapel veil during liturgy and during the prayer times of Aurora, Noontide and Evensong, I have begun wearing my veil during my rosary. For me, it is symbolic of a ‘time set apart’ for prayer and for being in the immediate Presence of Dea and the Janya. Wearing a veil during formal prayer makes me feel sheltered,  focused and it lends an air of sacredness to my time of communing with Dea.

~

Veiling during formal prayer might not be for everyone. But, for those who feel called or drawn, it is a very special custom. It is a sacred and holy custom. It lends self-dignity and shows respect to our Deity and in its own way, it helps to create ‘sacred space’.  Additionally, as Deanic women, we should be mindful of our status as representatives of Dea on Earth and so we should dress with dignity, self-respect and basic modesty.

https://matronite.com/2015/11/18/veiling-during-formal-prayer-and-the-dignity-of-women/

Etymology of Moura

Moura meaning dark and death in the Janite Tradition.

This is an inclusive word.

For Janites it suits The Great Mother being ‘Dark beyond the light and Light beyond the darkness’. It also suits the coming suffering of the Holy Daughter/World Soul Di Jana. To me, death meaning an end to this soul path and eventually a return to Dea.

For those who are Filianic believing in a symbolic death, perhaps Moura could also be seen as suitable for them.

Sophia Ruth

“Etymology

Moura is a homonym word with two distinct roots and meanings; one from Celtic *MRVOS, the other from Latin maurus.

The word “moura”, (medieval: mora) feminine of “mouro”, is thought to originate from the Celtic *MRVOS [ ‘dead’, also related to the Welsh marw. http://repository.uwtsd.ac.uk/381/1/CARLES%20FERNANDEZ.pdf ] and the indo-european mr-tuos that originated in Latin the word mortuus and in Portuguese/Galician the word morto (dead). Some authors think that the mouras are the deceased.

There is also a possible relation to the Celtic word mahra or mahr, meaning spirit.”
https://en.wikipedia.org/wiki/Enchanted_Moura

“Moura In Russian .. Means dark haired beautiful girl”
[ Seems to be referring to Maura 1 ]
https://answers.yahoo.com/question/index?qid=20100823032147AA9cfYk http://www.behindthename.com/name/maura-1

1 feminine name
“7. MAURA: Feminine form of Italian Mauro, meaning “dark-skinned; Moor.” Compare with another form of Maura.
GENDER: Feminine
USAGE: Italian, Spanish, Late Roman
PRONOUNCED: MOW-rah (Italian, Spanish)” [pronounced MOR-rah in Britain]
http://www.behindthename.com/name/maura-1
http://www.behindthename.com/bb/fact/4115377

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.

 

 

 

 

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