A Riddle in Stone

In Justine Glass's book Witchcraft the Sixth Sense is a curious photograph of a menhir from Brittany with many symbols carved in bas-relief on it.  The image is reproduced below.

Menhir image from Witchcraft the Sixth Sense

It is claimed that these images detail the three mysteries of Witchcraft. The first, shown on the right-hand side of the carving are the male mysteries.  The second, shown on the left-hand side are the female mysteries.  The third are the mysteries of the Priesthood, necromancy, the ancestors, and death-and-rebirth, shown in the center.

Robert Cochrane makes the following comments on these mysteries:

The Faith is made of three parts - of which I know two. The first part is the masculine mysteries - in which is enshrined the search for the Holy Graal - and is the basis of the Arthurian legends. This is the order of the Sun - the Clan of Tubal Cain. Under it come learning, teaching, skill, bravery, and truthfulness. In the distant past, the male clan was lead by a woman who was their priestess and chieftan. This is the origin of the legend of Robin Hood - and surprisingly enough began the Old Testament, and later, Christianity since both Jesus and Moses alike preached a version of the Masculine mysteries - Mithriasm was also a development of this - and the tradition was followed through into the middle Ages when the Plantaganet Kings were officers of the masculine aspect of the Faith (The name 'Plantaganet' means 'The Devil's Clan'). The effect of the masculine mysteries upon the world can hardly be under emphasized - since a very considerable portion of civilization owes its origin to them. To name but a few - Commerce, Lawmaking, Law- giving, Parliament, The early forms of universities and craftsmen's guilds - which lead to knowledge being contained and taught, surveying, all sciences such as metallurgy, astronomy and so on ad infinitum. The masculine mysteries were the direct creators of modern civilization as we know it now. It must also be remembered that originally the Mystery was conducted by a woman - and that she was the presiding genius behind many of the fundamental discoveries that created civilization. These mysteries are depicted as a javelin, a cockerel upon a pillar, a ladder, a flail, a twelve-rayed sun and a ladder of eight rungs and a sword or battle ax. Basically they have to do with control over three of four elements, especially that of Fire.

     The feminine Mysteries are the deeper - connected with the slow tides of creation and destruction, of the cycle of life and death. they are best expressed in the pentagram - Life/Birth, Love, Maternity, Wisdom, Death/Resurrection. They are connected with all things that grow - all creatures of flesh - fertility and sterility - the mystery of the woman who is Virgin/Mother/Hag in one person. They are in essence the cycle of life, and the universality of life - and they express themselves in deep intuition and feelings - in other world terms they control the unconscious, as the male controls the conscious. That is they are what the Jews describe as the second emanation of the Sephiroth - emotion, sensation, imagery, empathy and intuition. They are expressed in symbols as a broom, a flask, a cup, a glove, a distaff and a shift - all of which have a symbolic meaning in the Faith. The clan of Women is lead by a man, who acts as a priest, and teaches the feminine mysteries. Each one of these symbols has a value in wisdom, and I will teach you both what I know about them in forthcoming letters. Today, since there are so very few, the old system has broken down and the families teach their children both mysteries, so that the tradition will not be forgotten entirely. In the past the male and female clans were separated except for the nine Rites or 'Knots' of the Year - when they came together and worshipped Godhead. Also, a great deal of traditional rite has been lost - but it will be recovered again one day, since things and thoughts alike do not die, they only change.

The image below is a clearer photo of the menhir, and the symbols may be more easily discerned.

Menhir de St.Uzec II photo.  Click for larger image.

Starting at the lower left hand corner and working up and down, the carvings seem to be:  A broom, a distaff, an ear of grain, a goblet, a moon, a pitcher, a glove, a knife, a tablet or book, a shift, three stacked squares, three nails or keys, a girdle or braided cords, blacksmith tools, a winged fairy supporting the Goddess, a twelve-rayed sun, a cock on a pillar, a skull, a flail, crossed bones, a ladder, a spear, a walking staff, and a bell.  These are not necessarily the same symbols as Cochrane presents in his letter, nor to Justine Glass.  We will explore each of these tools in the future.

Special thanks to our reader Scylla for a source for a clear image of the menhir.

Ladders, Rosaries, and a bit on Weaving

Unique style of leather Witch's ladder

While the season is still under the auspices of the Black Goddess (herself a weaver of fate and magic), I thought I might like to write about a version of weaving magic that is rather central to traditional Witchcraft. I'm referring to the production of witches' ladders.

The simplest sort of ladder is a single string, thread or cord into which the Witch ties a series of knots. The magic of the Witch -- her power and intent -- is stored in each knot and can be unleashed at a later time.

The exact same type of ladder can be used as a devotional tool, a sort of Witch's rosary, in which she plans the steps on the ladder to lead to a devotional goal.

Of course, witchcraft isn't at all about doing things in the simplest manner, and we ARE a crafty lot. We enjoy weaving together numeric and color symbolism, and so our ladders tend to have more than one strand -- and often more than one color -- braided and knotted together. We include charms, beads, bone, feathers, and more to add oomph to our magic.

To the right is a picture of a drawing that was included in the "1734 Letters" that I printed from Joe Wilson's website in early 2000. While all of the writing is still available, I am a little dismayed that most of the pictures have entirely disappeared from the Internet. (The text at the bottom of each page clearly said, "Not to be sold under any circumstances for any purpose. Must be freely distributed.")

At any rate, this picture (labeled "THE KNOTS") shows three possible placements for "GIRDLES" -- or ladders. In Robert Cochrane's writing "On Cords," he describes the use of both devotional and magical cords:

"When worked up properly they should contain many different parts--herbs, feathers and impedimenta of the particular  harm. They are generally referred to in the trade as "ladders," or in some cases as "garlands," and have much the same meaning as the three crosses. That is they can contain three blessings, three curses, or three wishes. A witch also possesses a devotional ladder, by which she may climb to meditational heights, knotted to similar pattern as the Catholic rosary."

Three colors, three braids in each color, three knots

This rhyme is often seen accompanying Witches' Ladder spells:

By knot of one, the spell's begun.
By knot of two, the magic comes true.
By knot of three, so it shall be.
By knot of four, this power is stored.
By knot of five, my will shall drive.
By knot of six, the spell I fix.
By knot of seven, the future I leaven.
By knot of eight, my will be fate.
By knot of nine, what is done is mine.

When making a ladder, you will typically work from the outsides toward the middle. So, your first knot is on one end of the cord, your second knot is on the other end, and your third knot is in the middle. If you have more than three knots (as in the rhyme above), you place new knots between established ones, still alternating sides. So, for instance, the fourth knot would be between knots 1 and 3. In this way, the placement of knots becomes an act of weaving, as well.

Stang and Distaff

Stangs from Cornish Witchcraft website

Evan John Jones claimed that Robert Cochrane informed him that there were three branches of witchcraft. These were said to be memorialized on a megalith detailed in Justine Glass's much-maligned book Witchcraft: The Sixth Sense for which Cochrane was a source of information.  Though he intentionally provided Ms. Glass with misinformation throughout the book, he claimed until his death that the analysis he provided regarding the menhir and the Mysteries of Witchcraft were true. The meat of his analysis, available in full in Justine Glass's the book, is repeated as Craft teaching in Evan John Jones's work The Roebuck in the Thicket.

Traditional Mysteries

The first branch of mysteries is the masculine mysteries, centering on the legends of the Horn Child and the Sacrificial King (the Oak & Holly King stories).  The second branch is the feminine mysteries, centering on the mysteries outlined in Robert Graves' The White Goddess and the weaving of Fate.  The third branch, which Cochrane claimed was lost to time, were the Necromantic mysteries.  These have been reconstructed somewhat by modern practitioners like ourselves in rituals such as ancestral worship and the Tapping of the Bone.

The stang, revealed by PIE etymology to be a "stick" or "pole," is perhaps the most complex tool of Traditional Craft.  In it are contained each of the three paths of Craft.


The Stang and Male Mysteries

The most common interpretation of the stang concerns the masculine mysteries.  The stang is often thought of as a simple representation of the Horned Lord or Witchfather, with its forked tines standing in for the horns of the God.  Sometimes the skull of a horned animal is bound to the stang to reinforce this idea.  This practice may have old ties to the use of horned animals as a substitute sacrifice for the King.

Many, if not most, versions of Cochranite Craft use the same elemental quarter associations that we have described here before. Furthermore, EJ Jones actually writes about a very similar deity association, as taught to him by Cochrane, to what we use here at AFW.

East = Fire, the birth of the sun, the seat of the Horned Child
West = Water, the place of the dead, the seat of the Master of the Wild Hunt, the Sacrificial King
North = Air, winter, the Dark Goddess
South = Earth, summer, the Light Goddess

In both the East and West, though not always specifically identified with the name Tubal Qayin, we can recognize him in his guises as the light-bringer and the lord of the dead.

East and West, Fire and Water, are opposed in the Traditional Witch's compass, as are North/Air and South/Earth. Elemental opposites are called into the center along roads of power. We very literally have a crossroads at the center of the compass. What's more, we have a Devil who stands there. He is the Witchfather, the Horned One. The stang, with its horns, is symbolic of Qayin himself and of all the masculine mysteries.

The stang is often dressed by hanging two arrows (sometimes with points up, sometimes with them down) on the shaft. These arrows are symbolic of the male msysteries, as well.


The Stang and Necromancy

The stang is also the world-tree upon which we travel through the three realms.  It allows us to move from this realm to the land of the dead, among other places.  It is a gandreigh that we use to ride to the Sabbat, to cast the caim, and to center the compass.  These attributes make it a prime tool of magic, and one without which we would struggle to contact the dead. An animal skull upon the stang speaks of the masculine mysteries, but it also speaks of the Mighty Dead.

Often, a stang is outfitted so that it can hold a candle between its horns. The flame is said to be the Cunning Fire, the light shared by all Witches. When there is no candle, there is often a middle tine. This middle path, neither masculine nor feminine, is attributed to the Dead.

Our coven places skulls and bones (either crossed or uncrossed, depending on whether we intend to access the Dead or not) near the base of the stang, as well.


The Stang and Feminine Mysteries


The third branch of witchcraft, and the third use of the stang, is as a traditional woman's tool -- that of the distaff. The older versions of a spinner's distaff was either a two or three pronged "stang" ("stick"). The distaff and spindle were once the main daily working tools of all women, and Cochrane is very specific in his writings about the distaff being the main working tool of women of the Craft.  The distaff is a traditional handspinner's tool used for holding raw fibers as they are spun into thread on a spindle.  Robert Cochrane in his writing "On Cords" states:

    “The so-called ‘sacred object’ held in such reverence by some witches was in fact a weaver’s distaff–and could easily be mistaken for a phallic symbol. The weaver’s distaff, bound with reeds or straw, appears frequently in rural carvings and elsewhere. It again has reference to the Craft and supreme Deity. It would appear that the witches were not in the least influenced by Freudian concepts.”

Sarah Lawless, in her excellent post about magical sticks, suggests from her studies that the distaff/stang wrapped in flax for spinning was mistaken for a broom in folklore and art. Quite possibly. The stang is certainly a tool for travel.

Laurelei's first coven/Trad, which was also Cochranite in origin, didn't always hang two arrows on the stang. Often, it was a single arrow, with a linen shirt hung from it. The shirt was either white or black, depending on the ritual or time of year. We cannot deny that the stang is the hayfork that represents the Horned God, but it is also the spinner's distaff (a symbol, then, of the Black and White Goddesses).The linen shirt on a single arrow is an allusion to the flax wrapped around the distaff.

When we  view the stang as a feminine tool in the center of the magical space, the compass can be viewed as the spinning wheel of the Fates, our own Black and White Goddesses.

More Stang Lore to Come

Stay tuned for upcoming posts regarding "Magic and the Stang" and "How to Construct and Dress a Stang."

Flags, Flax, Fodder and Frigg

You may have seen witches signing off with the signature line "FFF" or "FFFF" and wondered what these letters stand for.  In online Traditional Witchcraft communities the series of F's is used much like Neo-Wiccans use "BB" for "Blessed Be".  Indeed, FFFF is also a kind of blessing, although it has very old roots.

The F rune, fehu, is a mark of prosperity and good fortune.  It, in and of itself, is a blessing.  When tripled or quadrupled its energies are increased exponentially.  FFFF is, quite literally, a spell.

FFFF stands for "Flags, Flax, Fodder and Frigg", as Cochrane makes clear in his third letter to Joe Wilson.

"Flags are a form of rush, a plant that grows in European waters - so the answer is Flags, water, Flax, being the weavers plant and blue, thus representing the Goddess of Birth and Death (Fate) being the principle of Air, and Fodder - which means grass, the Earth. The ancients swore an inviolable oath by grass roots - the answer will come to you if you think on it."

Cochrane's interpretation is element-based (or three-realm based: air, earth & water) and omits the final F.

I was taught a different interpretation of the benediction, which includes the final F. In this system Flags, Flax, Fodder and Frigg breaks down to:

Flags = the flagstone, the home, the hearth and the hearthfire
Flax = clothing, the material of weaving, the benediction of the weaver's power
Fodder = food for animals and people
Frigg = the Goddess Frigg, also slang for copulation

So, Flags, Flax, Fodder and Frigg can be translated as "Blessings of the hearth, the weavers, abundant food, and love/sex/fertility".  These were also once popularly given as gifts to families entering a new home. (Gifts of fire, hand woven cloth, food -- usually something baked -- and love or friendly devotion).

I wish you abundant blessings!

Witchy Blogs of Note

In days past it was difficult to find good resources on Traditional Witchcraft. Aside from the work of Andrew Chumbley, Nigel Jackson, and (of course) Robert Cochrane very few had written anything about their path.  Those that had (Chumbley for example) were nearly impossible to get your hands on.

We are now in an age when many of us have deigned to come out from the shadows and are sharing our practices with others. For some of us we have felt called by our Gods to share this information, others see it as a kind of kuthun -- a way to pass on the knowledge so it will not be lost after we are gone.  Still others look at what Neo-Wicca has done to our faith and cry "ENOUGH!"  We are sick in our souls of the watering down and selling-out of the Craft and demand a return to more traditional ideas and practices.

If you are looking for how the old Craft lives on today you would do well to visit and join these blogs.

Alchemist's Garden, The ~ one of the best online resources for learning about our plant friends and how they are used by those who walk the hedge.  Plant familiar magic has become rather faddish as of late. This blog is the idea antidote.

Art of Conjure and Hoodoo ~ witches cast spells, do they not?  You would be hard pressed to find a more vibrant spellcrafting community than that of Hoodoo. This is excellent advice on spellcraft and spell components. Do you know what a coon dong is used for?

Classic Witchcraft ~ a new blog by a very dear friend and teacher in the Craft.  I can assure you that "PJB" will be writing about provocative nitty-gritty Craft.

New World Witchery ~ part blog, part podcast, these delightful witches are doing work very similar to what we are doing here.  They are interested in the American expression of Trad Craft.

Tracks in the Witchwood ~ this is Robin Artisson's blog.  Yes, yes, we know.  Have you actually read his books?  They are a wellspring of Traditional Craft.  His blog is on occasion as well.

Walking the Hedge ~ Juniper found us before we found her, but we are so glad that she did.  This is real hedgecraft, not the domesticated kitchen-witchery that tries to pass itself off as hedgewalking.

Wild Hunt, The ~ this is not a trad-specific blog, rather it it a news service provided by one extraordinary witch, Jason Pitzl-Waters, who documents news of note to witches and Pagans throughout the world.

Witch of Forest Grove, The ~ it look like we've saved the best for last. Sarah Lawless is everything you ever thought a witch was when you were young and believed in such things with your whole heart.  That's a bit effusive, but I'm quite an admirer of her work.  She's an artist, a plant-worker, and a hedge-rider with a Scottish flare. She lives in the Pacific Northwest in a temperate rain forest.

The Witches' Stang

The stang is the central tool and main altar of our tradition. A stang, in its most basic form is simply a forked stick set with its long end into the ground. It acts as an axis on which magic can turn, and as a pole that can be "ridden" by the shaman or witch into different realms. Its forks represent the horns of the Witch Lord.

The stang entered modern Craft by the hand of Robert Cochrane, who called it as "sacred to the People as the Crucifix is to the Christians."  I've written about Cochrane's use of the stang in my July 2011 post on Treading the Mill.

The stang is sometimes represented by a iron-tined pitchfork or a pole with the skull of a horned beast on it. Often in these configurations there will be a candle or torch lit between the two horns or tines, in the style of the icon of Baphomet, or as is shown in this woodcut from 1594 of a sabbat at Treves.

The Horned God with the cunning light between his horns.

Any wood is suitable for use as a stang, although ash, with its connections to Yggdrasill, the tree on which Odin was hung shaman-like for nine days, is a popular choice. Our own stang is based on Him that we honor as the Witch Lord, T'Qain. It is therefore represented by a ram's skull.  It represents both His presence and the Spiral Castle.

Although not as popular as motif as, say, riding a broomstick, there are many examples of witches using the stang to fly in early woodcuts as is shown by the examples below.

Using the stang to carry a cauldron while riding backwards on a goat. It has all the things. ;)

A masked family flies out on their stang.

A witch and her demonic familiar fly to the clouds on a stang.

The stang has antecedents in the Yggdrasill of Norse lore, the Poteau Mitan of Haitian Voudon, and the ascending-pole birch tree of the Yakut shamans.  It is both a world-pillar on which the cosmos (represented by the witches compass) turns and a gandreigh.

Admit it. You want to try out magic with a stang.

For more information I suggest reading the writings of Robert Cochrane, and Nigel Jackson and exploring the links below.

How to Use a Stang
A Special One, But Still a Pole
Posts Labeled "Stang" from This Blog

Treading the Mill

Once you have the compass laid, it is time to begin the magical work. But how does one act when in the circle?  In Wicca movement is always clockwise 'round the circle, but in Traditional Craft movement can be deosil or widdershins, depending on the rite.  Also there is a particular form of movement by which we raise power.  This is known as treading the mill.

Robert Cochrane discusses treading the mill in his typically riddling style in one of his letters to Joe Wilson.  Included below is the text.

This is known as "Approaching or Greeting the Altar". There are many altars, one is raised to every aspect you can think upon, but there is only one way to approach an altar or Godstone. There is a practice in the East known as "Kundeline", or shifting the sexual power from it's basic source to the spine and then to the mind. Cattle use this principle extensively, as you will note if you creep silently up to a deer or cow -- since there is always one beast that will turn its back to you, and then twist it's [sic] neck until it regards you out of it's [sic] left or right eye alone. It is interpreting you by what is laughingly known as "psi" power and that is how an altar is used -- with your back to it, and head turned right or left to regard the cross of the Elements and Tripod that are sacred to the People as the Crucifix is to the Christians.

If this business of cattle and kundalini sound confusing, it's only Cochrane's way of veiling the mysteries.  What he is getting at is that you are simply circling the "altar... of the Elements and Tripod" while looking over your shoulder at the altar.  You would look over your right shoulder to the center of the circle if you are moving clockwise, and over your left shoulder if moving widdershins.

So what is this secret "cross of the Elements and Tripod that are sacred to the People as the Crucifix is to the Christians"?  Cochrane appends a diagram of the device at the end of his letter to Wilson.  It is shown below.

Looks rather ceremonial and pretentious, doesn't it?  Not at all like shamanic, folkloric, Traditional Craft.  Again, this was Cochrane revealing by concealing.  The item that forms the altar in the center of the circle that is as "sacred to the People as the Crucifix is to the Christians" is the stang.  The cross is the base of the symbol for the stang [ + ] and the tripod is the horns of the stang, the three rays of awen [ \|/ ]. Together they create the glyph that Cochrane signs with his name:

So, treading the mill is simply walking around the perimeter of a circle that has a stang raised at its center, while looking directly and intensely at the stang. It is the "crooked path".  The mill can be tread using the lame step, adding honor to Tubal Cain, and special purpose to the use of the staff.

The mill can be danced, although moving through the mill grounds can feel very much like one is hooked up to an old-fashioned mill stone like some beast of burden.  Treading the mill sometimes feels very much like walking against a swift current.

It can be helpful to sing or chant together in order to keep rhythm.  Collected below are some mill songs, some of which we have written ourselves, others which are traditional.

The Mill of Magic

Fire flame and fire burn, make the Mill of Magic turn.
Work the Will for which we tread by the Black and White and Red.

Earth without and earth within, make the Mill of Magic spin.
Work the Will for which we tread by the Black and White and Red.

Water bubble, water boil, make the Mill of Magic toil.
Work the Will for which we tread by the Black and White and Red.

Air breathe and air blow, make the Mill of Magic go.
Work the Will for which we tread by the Black and White and Red.

Power of the Elements

Power of Sky and power of Wind and power of Air the North doth send,
We tread the Mill to work our spell, both by your Breath and by out Will.

Power of Spark and power of Fire, power of all our hearts' desire,
We tread the Mill to work our spell, both by your Flame and by out Will.

Power of Ice and Water free and power that hides in depth of Sea,
We tread the Mill to work our spell, both by your Wave and by out Will.

Power of Stone and power of Land and power of rich Soil in our hands,
We tread the Mill to work our spell, both by your Earth and by out Will.

Lady Weave

Lady weave the Witches' fire
'Round the ring of Caer Sidhe's spire,
Earth and Air and Fire and Water
Bind us to you.

Basque Akelarre Chant

Har har, hou hou!
Eman hetan!  Eman hetan!
Har har, hou hou!
Janicot! Janicot! Janicot! Janicot!
Har har, hou hou!
Jauna Gorril, Jauna Gorril,
Akhera Goiti, Akhera Beiti.

A very rough translation of which is:

White Worm, White Worm!
Look ancients, look ancients!
White Worm, White Worm!
Black-Goat-God! Black-Goat-God! Black-Goat-God! Black-Goat-God!
Look ancients, look ancients!
Red Lord, Red Lord,
Goat above, goat below.

Apparently it was popular with some older curveens to dance the mill with their back to the stang, as is shown in this woodcut from 1594 of a sabbat at Treves.  You can see the dancers in the red box.

This sabbat's stang is alluded to by the enthroned goat with a flaming torch on his head, reminiscent of the stang, Janicot, and Baphomet.  Indeed, I wonder if this was once the way sabbats were held, with a horned God enthroned overseeing the proceedings in place of the stang?

The Witch's Library

I'm a librarian by trade, so surely you knew this post was coming eventually.

There are hundreds of books about witchcraft available on the market today, and it can be difficult to sort out the useful works from the tripe!  Complied below is a list that I personally recommend for beginning witches, or those looking to expand their knowledge of Craft.  This is by no means a complete list, as I can only recommend those books which I myself have read and gleaned some good from.  Please add your own suggestions in the comments.

Books Central to Our Tradition
These writings are recommended to anyone who seeks to practice AFW.

The White Goddess: A Historical Grammar of Poetic Myth by Robert Graves
Call of the Horned Piper & Masks of Misrule by Nigel Jackson
The Writings of Roy Bowers (Robert Cochrane)
The Real Mother Goose by Blanche Wright

Trad Craft Basics
These books will give you a good introduction to Traditional Witchcraft practices.

The Roebuck in the Thicket by Evan John Jones & Robert Cochrane, editor Mike Howard
Witchcraft: a Tradition Renewed by Doreen Valiente and Evan John Jones
The Forge of Tubal Cain by Ann Finnin
Grimore for Modern Cunning Folk by Peter Paddon
The Witching Way of Hollow Hill by Robin Artisson

General Witchcraft
These books, combined with a few others from each section will give you an excellent foundation in Craft.

Mastering Witchcraft: A Practical Guide for Witches, Warlocks & Covens by Paul Huson
The Rebirth of Witchcraft, Witchcraft for Tomorrow, & Natural Magic by Doreen Valiente
Witches All by Elizabeth Pepper
Witchcraft: a Mystery Tradition by Raven Grimassi
Wheel of the Year by Pauline Campanelli
Courting the Lady: A Wiccan Journey, Book One: The Sacred Path by Patrick M. McCollum

Wiccan Classics
These books are unabashedly Wiccan, in the sense that they can trace their way back to the practices of Gerald Gardner.

High Magic’s Aid, Witchcraft Today, & The Meaning of Witchcraft by Gerald Gardner
The Witches' Way, Eight Sabbats for Witches (available collected as A Witches' Bible), The Witches' God, & The Witches' Goddess by Janet & Stewart Farrar

Craft History
Many of these books were inspiration for the modern Craft movement.

The Triumph of the Moon-A History of Modern Pagan Witchcraft & Stations of the Sun by Ronald Hutton
Aradia or the Gospel of the Witches of Italy by Charles G. Leland (Pazzaglini Translation)
The Golden Bough by James George Frazer
Gods of the Greeks by Karl Kerenyi
The God of the Witches by Margaret Alice Murray
Ecstasies: Deciphering the Witches' Sabbath by Carlo Ginzburg and Raymond Rosenthal

Totemic Information
If you want to know more about the totems of our tradition these are a great place to start your research.

Tree Wisdom: The Definitive Guidebook to the Myth, Folklore, and Healing Power of Trees by Jacqueline Memory Paterson
The Celtic Tree Oracle: A System of Divination by Colin Murray, Liz Murray and Vanessa Card
Druid Animal Oracle by Philip Carr-Gomm, Stephanie Carr-Gomm and Bill Worthington
Sacred Mask Sacred Dance by Evan John Jones and Chas Clifton
Animal Speak by Ted Andrews

Spellcraft
When you want to work magic this is where you should start.

Cunningham's Encyclopedia of Magical Herbs & Book of Incense Oils and Brews by Scott Cunningham
The Element Encyclopedia of Witchcraft & The Element Encyclopedia 5000 Spells by Judika Illes
A Century of Spells by Draja Mickaharic

I also suggest you explore these trad-craft reading lists to inspire further book lust:
Probus Lecto: a Clan of Tubal Cain reading list
The Witch of Forest Grove's suggested reading list (Sarah Lawless also writes Pagan Bookworm, a witchy book-lover's blog)
The Ancient Keltic Church's reading list
Traditional Witchcraft Research Network reading list
The House Shadow Drake reading list
The White Dragon recommended reading list

Who the Hel is Robert Cochrane?

Robert Cochrane [26 January 1931 - 3 July 1966] was the pseudonym of a British Traditional witch named Roy Bowers who worked his Craft around the same time as Gerald Gardner was promoting and developing Wicca.

Cochrane created a stir of controversy when he denounced what he called "Gardnerian" Witchcraft as a false or watered-down form of the Craft that he claimed to practice.  Cochrane claimed that he was a member of a hereditary line of craft dating back to at least the 17th century. He founded a coven known as the Clan of Tubal Cain, through which he propagated his Craft.

Cochrane's influence reached far beyond his own associates.  He corresponded with a series of gentlemen throughout the 1960's concerning his beliefs and tradition. These letters have gone on to form the basis of the American tradition of 1734 Craft.

The Clan, and the many groups influenced by it, follow a system of Craft that has roots in European shamanism, and eschews the Ceremonial Magic based forms of Wicca.

Cochrane died by his own hand at the age of 35 by poisoning with belladonna on the summer solstice.  There is still speculation surrounding his death, as some believe he committed suicide as a form of literal sacrifice.

Links for more information:
Wikipedia: Robert Cochrane
Controverscial.com: Robert Cochrane
Chas Clifton: Robert Cochrane, Tregetour or Magician?
CyberWitch: The Writings of Roy Bowers