The Saining of Tools

After acquiring a new tool it is traditional to cleanse and bless the implement and to consecrate it to its new owner and new use.  This process is known as saining.  Saining may be performed together as a coven or privately and individually.

Preparation

You will need: the tool to be sained, dark bread in a bowl (or lipped dish), red wine in silver quaich or chalice, the Red Knife, a portion of purification or blessing incense, and a thurible with a lit charcoal.

Ritual

1.) Cast the Caim as usual.
2.) Place some of the incense on the lit charcoal and run the tool through the resulting smoke, visualizing all past energies of the tool being carried away and dissolved with the smoke.
3.) Say: "I cleanse this "XXXX" in the name of the Mighty Ones, that it may serve me well in my Craft."
4.) Raise power by seething.  Rock back and forth, hum, chant, wail, and draw power up from the third realm and down from the first realm into yourself and into your tool. 
5.) Perform the rite of the Housle.
6.) Pour the remainder of the wine into the bread bowl, and anoint the tool, giving it a name at this time if you so wish.  The Housle is the blood of the Mighty Ones, and with it you seal in the energy that was raised by seething your power into the tool.
7.) Complete the rite of the Housle.

It is best to use a tool for its intended purpose as soon as possible after saining.

Newly consecrated tools should be kept in as close connection as possible to the body for at least a month (under the pillow, or in a bedroom corner is a common place). When not in use, all tools and weapons should be put away in a secret place. this place is also commonly near your sleeping place. Some traditions recommend that you handle your tools each night before retiring. Do not allow anyone to touch or handle any of your tools until they are thoroughly impregnated with your energy, the usual term for this is near to six months.

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.

Pendulum Dowsing

Divination is one of the traditional arts of a witch, and one of the simplest forms of divination is dowsing through the use of a pendulum.  Pendulums can be purchased, or easily made.  Any weight suspended from a chain or string can work as a pendulum in a pinch. Pendant style necklaces work well.  I've also had success with a key suspended from a rubber band at the office!  Of course, using a tool that you love and that speaks to your unconscious mind will improve your overall results.  Any vehicle may get you to your destination, but many people still prefer luxury automobiles.

After you have selected your pendulum you will want to perform a simple exercise to attune your mind to the pendulum.  Keep in mind that it is not any special metaphysical force that moves the pendulum, rather it is the small unconscious muscle movements of your hand.  The "magic" behind the pendulum is that your unconscious mind is already attuned to the true outcome or answer to your questions.

To use the pendulum let the weight swing freely from your fingers as shown in the photo.  Concentrate on the pendulum being very still.  Then ask the pendulum to "Show me YES".  Focus the thought of YES at the weight of the pendulum.  The pendulum will begin to swing.  Wait until the swinging takes on a regular pattern, such as side-to-side, forward-and-back, clockwise, or counterclockwise.  This is your signal for yes.  Now still the pendulum.  Ask the pendulum to "Show me NO".  Again, send the thought of NO strongly to the weight of the pendulum.  Wait for the pendulum to swing in a regular pattern, this time different from the pattern shown as "yes".  You now have charged your pendulum and your mind to receive yes and no answers through the pendulum.

For more detailed questions you may want to make use of a dowsing board, such as the one shown below.  To dowse, suspend the pendulum over the point of the chart where the rays meet at the bottom.  Ask the pendulum to be still.  Then concentrate on your question, stating it aloud.  Follow the movements of the pendulum to receive your message.  It may be helpful to have someone record the results of the dowsing while another person uses the pendulum and asks the questions.  If you have poor results with the board initially, do not be discouraged.  With time and practice your skills using the board will improve.

You can also use pendulums to dowse for water or lost objects through the use of a map as the dowsing board.  To find a lost object draw a rough map of your home, or the location where you think you lost the item. Divide the map into sections like a tic-tac-toe board. Focus on the item while moving the pendulum from one area to another.  The pendulum will react strongly in the location of the lost item.

Pendulums are sometimes used to dowse in people's energy fields for blockages.  Pendulums can be charged to react strongly (a YES response) to open chakras and other energy centers, and to produce a NO response when encountering a blockage or negative energy.  This can be helpful when doing group healing work, as everyone present can "see" the areas affected, rather than relying on touch.

These are only a few common techniques for pendulum dowsing.  The uses for a pendulum are limited only by your imagination.  Pendulums are not only one of the easiest forms of divination to learn, they can be improvised in many situations with common objects.  Thus, using a pendulum can be a basic and essential practice for your bag of tricks.

If you want to buy a pendulum, we have several handmade varieties available in our online Botanica.  Also, most occult retailers offer pendulums at reasonable prices.

The Airts: Elemental Quarters of the Spiral Castle

The Airts of Traditional Craft correspond to different elemental quarters than those found in Wiccan and Ceremonial traditions.  The Airts are based on old "Celtic" lore.

The North – Air

Values: Intellect, Thoughts, Inspiration, Communication, Flight, Divination
Colors: White, sky blue, black, silver
Symbols: Circle, bird, bell, flute, chimes, clouds, Sylphs, the Angel
Tools: Keek stone, flail, knives
Weapons: Staff/Spear
Musical Instruments: Reed instruments
Times: Imbolc, Midnight, Winter, Old Age
Places: Sky, mountaintop, treetop, bluffs, summit of a mound
Zodiac: Aquarius, Gemini, Libra
Sense: Scent
Power: To Know
Process: Chanting, Visualization, Reading, Speaking, Praying, Singing, Fragrance, Charms

The East – Fire

Values: Passion, Power, Will, Energy, Courage, Strength, Light
Colors: Red, orange, amber
Symbols: Triangle, lightning, flame, candle, Salamanders, the Lion
Tools: The lamp, wand, staff
Weapons: Sword
Musical Instruments: String Instruments
Times: Beltane, Dawn, Spring, Youth
Places: Volcanoes, ovens, hearths, bonfires, deserts
Zodiac: Aries, Leo, Sagittarius
Sense: Sight
Power: To Will
Process: Dancing, Burning, Candle-magic, Solar magic, Mirrors

The South – Earth

Values: Growth, Experience, Authority, Money, Physicality, Security, Nourishment
Colors: Black, brown, russet, green
Symbols: Square, cornucopia, scythe, salt, stone, Gnomes, the Bull
Tools: The casting bowl, pentacles, horns
Weapons: Shield
Musical Instruments: Drums
Times: Lammas, Noon, Summer, Coming of Age
Places: Caves, forests, fields, gardens, canyons
Zodiac: Capricorn, Taurus, Virgo
Sense: Touch
Power: To Keep Silent
Process: Burying, Grounding, Binding, Eating, Totemic magic, Wortcunning, Clay figures, Dirts

The West – Water

Values: Emotions, Intuition, Cleansing, Mystery, Sacrifice
Colors: Grey, turquoise, blue, indigo
Symbols: Crescent, shell, boat, anchor, cup, Undines, the Eagle
Tools: The chalice or quaiche, cauldron
Weapons: Helm
Musical Instruments: Chimes
Times: Samhain, Twilight, Autumn, Adulthood
Places: Oceans, rivers, lakes, waterfalls, wells, beaches, baths
Zodiac: Cancer, Scorpio, Pisces
Sense: Taste
Power: To Dare
Process: Bathing, Healing, Drinking, Baptism, Charged Waters, Blood magic

A Charm of the Airts

Black spirits, white,
Red spirits, gray,
Come ye, come ye
Come what may.

Around and round,
Throughout, about.
The good stay in.
The ill keep out.

The Stang, The Broom and the Spiral Castle

I (Laurelei) have worked exclusively in covens that have used the Stang as a central point of focus in ritual. Because of this, I have a couple of nifty pics of Stangs that were once near and dear to my heart.

The picture above depicts the Stang adorned for a wedding -- hung with an arrow, which is draped with a white linen shirt. This adornment is used in other situations, as well, which we'll describe in detail in another post. (In the covens of my former Tradition, the Stang was located behind the main altar, which was oriented to one side of the ritual space. You'll note how that differs from the Spiral Castle Tradition's placement of the Stang in a moment.)


This particular Stang was made by one of my coven brothers. It had an Ash handle, iron horns (or prongs), iron foot, and an iron hook between the horns for hanging the ram's skull, arrow and candle. It was a tremendous piece!

Fore-running Configuration of the Spiral Castle

The Stang in the picture above was the tool of the coven for which I served as HPS. It was a converted pitchfork, which meant that it also had an Ash handle and iron (cast-iron) horns. One of my coven brothers cut and ground down the middle prongs to provide us with the piece you see. At the time of this photo, it still needed its branding sanded off and its foot shod with iron.

In the Spiral Castle Tradition, the Spiral Castle itself  sits at the middle of our cosmological system. When we lay the compass, we signify this central focus by placing the Stang at the epicenter of the circle. At its base we place the anvil (and hammer), which is our Oath Stone; the skulls and crossed bones (representations and keys to the Ancestors); and our personal fetishes.

We envision the Spiral Castle as sitting atop a Tor, a ritual mound with a sacred chamber inside.

The Spiral Castle, the Stang and the Broom share a certain transvective power with each other. (In truth, the Broom's base staff is a small Stang, as you will see soon.) What the Spiral Castle does for the entire Tradition (accesses ALL wisdom, ALL experience, ALL the realms, gates and airts), the Stang does for the Coven, and the Broom does for the individual Witch.

In his letters (have you started reading those yet?), Cochrane says that the Mystery of the Broom is "spinning without motion between three elements." He also relates this Mystery to the Qabbalistic Middle Pillar and the "path to the 7 gates of perception." He is, of course, talking about the practice of trance-work and meditation -- and using these tools (the Broom, is the metaphor for the tool) in order to access ALL THAT IS.

The Broom (according to copies of Cochrane's letters which I have that actually include illustrations) is constructed from a small, forked Ash staff. Between the prongs of the fork, a sacred stone is bound. The strips used for binding, the broom twigs, and the handle, are each different sacred woods. (Glaux is planning to reproduce the illustration soon.) The stone is a specific stone (which he calls "balanite," and we have researched to be none other than basalt).

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

The Shelg

Beads and awl

I went to the flea market the other day and found some fun pretties to turn into tools.  First was a strand of white quartz and onyx beads which I'll be re-stringing into a witch's ladder.  The other tool I found was a rusty awl.

I've transformed the awl into a nice little shelg.  I've been getting questions lately on what a shelg is, and I thought this would be a nice time to clear that up, in addition to showing off my new tool.

The shelg is the (secret!) red handled knife of the witches. Just as the black handled knife, or athame, is used to cut and direct energy, and the white handled knife is used for cutting and carving in a material sense, so the red handled knife has its own particular uses. The shelg is used for blood magic and sacrifice. It may be used to open a small wound in the flesh in order to produce blood for oath-taking or binding links. It is also used during the housle to activate the Red Meal as a true sacrifice.

The shelg is a tool of the third realm and relates to the Red God of the Forge, Tubal Qayin.  Although sterile lancets are often used in place of the Shelg for safe bloodletting in small amounts, the shelg is still symbolically passed over the wound to seal the link to Qayin.

So, the shelg is a kind of bloodletting knife or, in this case, burin.  The word "shelg" comes from an old Manx word for a hunting knife.

I got the idea for using an awl rather than a blade from this amazing example at the Witch of Forest Grove's blog.  She refers to her tool as a "Thumb Pricker" from the famous witches from Macbeth:

By the pricking of my thumbs, something wicked this way comes… 

Here are some photos of my shelg in progress.

Sanded and sharpened. Look, ma, no rust!

Pyrography of an owl and the stang rune, or witch's foot.

Stained with red ochre oil paint and ready to taste blood!

The Staff

Note that this is a discussion of the generic witch's staff. It is not to be confused with the Blackthorn Staff or the Distaff, both of which are different tools with distinct characteristics. These tools will be discussed in future entries.

Witches' staves

The staff is a straight stave cut from any wood.  It can be of any length, usually ranging somewhere from waist height to just slightly taller than full height of the witch who will be using it.  There is no specific type of tree that is chosen for a staff, rather, the witch will wander the woods at will, communing with the spirits there, and feeling for a young tree that is willing to give its life for the creation of a magical tool.

You may already have a piece of dead-fall or a walking stick which you wish to use for a staff.  If you do not, you should seek for a young tree in a copse of other trees.  This will encourage the tree to be straight, and will leave less impact on the forest. Raise the power and send it coursing into the potential tree. Tell the tree in your own words what you are seeking and then ask it if it is willing to give itself to become your staff. The tree must give consent before proceeding.

You will need to make an offering to the tree.  The traditional offering is, as always, a piece of silver.  Birdseed and fertilizer are also good choices, especially if you choose to make ongoing offerings to the tree over a course of time.  When you are ready to harvest your staff take the offerings to your tree along with a mundane handsaw that has been consecrated for this purpose, the shelg, bottled water, and a first aid kit.

Confirm a final time that the tree agrees and desires to be your working tool.  Lay a compass to hold the energy in the grove. Make your offerings to the grove.  Ask the tree to send its life force down into its roots. Cut the tree down with the handsaw, concentrating on the purpose of your task.

When the tree falls use the shelg to cut your palms.  Hold the tree and let your blood and spirit fuse with the wood. Consecrate the wood in the name of any deities and powers that you wish.  Clean your wounds and bandage them well. Use the handsaw to cut your staff to the length you desire.  Cut any “scrap” wood from the tree that you wish to use for besom handles, wands, etc.  Scatter the remaining wood and branches throughout the grove, leaving as little trace of your work as possible.

If you are working from a piece of dead-fall wood be certain that it has not been compromised by rot or insects, then proceed to blood the wood just as you would with a newly felled tree.

You may choose to adorn your staff however you wish.  You may remove the bark, or leave it on.  Your staff can be as elaborate or as simple as you like, and it may evolve in style and decoration as you grow and change in the Craft.  Some witches choose to keep their crane bag hanging from their staff.

One thing that must be done before the staff is used formally in ritual is the shodding of the staff.  You may choose to do this during a consecration ritual for the staff.  To shod the staff you need only to drive a nail up into the bottom end of the staff.  This seals the staff as a weapon in the name of Qayin, and creates it as a properly iron shod steed.

The staff may now be used to cut the boundary of the river of life and death when laying the compass.  It can also be ridden both as a gandreigh and a tool for treading the mill.

The staff is a truly personal tool of a witch. It is not passed down as a kuthun to students or family.  It is best if the staff is destroyed upon a witch's passing, or that it is given back to earth, water, or fire with the witch's remains.

Laying the Compass

(This post has been edited, as of Oct 12, 2013 to reflect how we have grown into the laying of the compass.)

Most modern witches have been taught to work in a circle.  The circle is an organic shape that places each of its members as equals.  Energy flows smoothly when directed in a circle, and the circle serves as both container and barrier for various energies.

In our tradition we also work in a circle, although its creation and its purpose differ from the Wiccan circle.  Whereas Wicca has been influenced by Ceremonial Magical traditions to cast a circle to serve as a metaphysical protection from outside energies, we view the circle as a kind of cauldron. It is a container to intensify and direct energy from.

Wiccan circles are cast three times, once with salt and water, once with fire and incense, and once with steel (an athame or sword). Our circles are cast by calling in the three spheres/circles of power and protection -- the Realms, the Gates (Quarters), and the Castles (Watchtowers).

The cutting of the boundary is less important than the laying of the compass.  By laying the compass we invite the wards and energies of all of the realms and directions to be present in our circle. In our tradition we base the laying of the compass on our year wheel, and we call Powers that lie opposite each other as a pair. So for example, when calling the Gates, we call North, then South -- both being called toward the center of the circle. Thus, they form a road or an energetic pathway, with the Stang as the center point. The we would do the same with East and West, which creates two crossed roads.

We begin at the center of the compass and raise the stang.  The stang serves as the world tree and connects the three realms of upper, middle, and lower.  If we are going to voice the calls, we speak an evocation to the 3 Realms -- Upper, Middle, and Lower. At the base of the stang is the oath stone, or anvil.  It is on this stone that we make our blood oaths to the tradition and through which we call forth Tubal Cain.  Near the oath stone are the cauldron and the skull.  These represent the mysteries of life and death, and tie us to our ancestors.  Also placed at the center of the compass are the personal fetishes of each member of our Clan, and the three knives.

With the raising of the Stang and the calling of the Realms, the 1st Circle is cast.

Then we begin calling the next circle, which can either be the Elemental Gates or the Castle-Watchtowers. This really is up to you (or perhaps you will base it on the time of year. We often begin with whichever part of the Year Wheel we are actually in  -- so, Castle Perilous would be the first thing called, if we were closest to the Fall Equinox, West Gate if we were at Samhain. If you call a Castle, its opposite across the Circle should be next, followed by the remaining two Castles. The same philosophy applies to Gates. Call them as opposite pairs, as siblings, as light and dark halves of each other.)

For this example, we are going to call the Gates as our 2nd Circle, beginning in the North.

At the north gate are placed the staves of the coven, along with the spear, and the troy stone, or gate stone. Also at this gate are symbols of the Black Goddess (including a lily) and totemic pieces associated with her.  Thus, an owl's feather, fur from a cat, and a stave of willow are all acceptable here. Any tools associated with air are kept at this gate, such as the censer if one is used. If the scourge is to be used it is also placed at the north gate.

The south is the gate of the White Goddess.  At her gate are placed red roses.  The weapon kept here is the targe, tool of earth.  The binding cords and the bread for the red meal are placed at this gate.  Horsehair, apples, and swan feathers are all symbols for this gate.

In the east are the tools of fire.  Here we place the blacksmith's trade (hammer and tongs) and keep a bonfire burning, if we are outdoors.  The coven sword is here, as is appropriate to a weapon of steel. This is the home of bull, hawthorn, and bee, so offering of honey, or mead in cow horns is appropriate. Also kept here are offerings for Tubal Cain, such as dark beer.

The west is the gate of water.  It is the quench tank of Tubal Cain. Representations of water are placed here, along with toad, and crane. Elder is only brought into the circle for certain dark magics.  The weapon of this gate is the helm, and the masks of the Clan are kept here.

Whether you speak words, silently call, dance, etc. is up to you. But having called the Gates, the 2nd Circle is now cast.

Now, we call the 3rd and final circle, that of the Castles.

At the north-east is the Castle of Revelry.  Here we place the lantern of inspiration and the broom. The totems are hare, birch, and goose, so a goose feather, a rabbit's foot, and some birch bark are all good to place here.  Also, if you can procure a model of a castle painted gold it would be well to place it here.

In the southwest is kept the silver chalice or quaiche, along with the red wine that it will hold.  Hawk feathers, vines, and representations of the boar or sow are also placed here.  The Castle Perilous is represented in miniature as a castle painted black with red accents.

At the northwest corner is the Glass Castle.  It is represented by the serpent's egg, or glass orb.  The totems are goat, holly, and wren.  Tools of divination are kept in this castle.  It would be nice if you can find or commission a small castle made of blown glass to place here.

The south-east is the home of the Stone Castle.  The stone bowl and the casting stones are kept here, along with stag horns, acorns, and oak staves.  A model fortress painted grey, or appearing to be made of stone, is placed here.

The 3rd Circle is now cast, at which point we usually acknowledge once more the center-point of the Compass, the Stang, the Spiral Castle, which opens into every place and is at the crossroads.

Thus is the compass laid. It may be as elaborate or as spartan as your tastes and needs dictate. Although the instructions above explain the placement of all of the gates, treasures, tools, weapons, and totems, simply treading the mill once and acknowledging the four gates and the four castles, along with their rulers, is enough to lay the compass.

Scrying

A crystal ball used for scrying

Scrying is the technique of gazing into an object such as a crystal ball or mirror for the purposes of divination. Anyone can learn to scry, but, like most things, it takes a little practice at first. The amount of time you use for scrying can vary from a few minutes to half hour.   

Scrying is comparable to meditation, and is most easily performed by individuals familiar with meditation techniques and working with their intuition.

Dim the lights of the room and set the scrying object in front of you. Relax your eyes and gaze steadily into the surface of the tool. Do not worry about if you are staring "correctly", rather, if you need to blink, blink! If you feel your gaze shifting, allow it to happen. Stay relaxed, and stay focused on your question.

Typically a mist will seem to form on the surface of the object, almost as if a veil is being lifted before your eyes. It is important to not become too excited at this occurrence, rather you should strive to remain calm and focused. Eventually, the mists will clear, and you should be able to pick out shapes or images in the scrying surface. These images may appear as crude symbols, or occasionally with the clarity of a photograph.

Although you will actually see these images with your eyes, what has happened is that the images themselves begin to form in your mind via your intuition. As this stage progresses, you will no longer see the images projected onto the scrying surface. Rather, you should allow your attention to focus on these mental images.

As the images become clearer, you will find that you know things about what you are seeing. Background information will come to the surface of your mind. Pay attention to what you know about the images you are seeing. This stage is marked by astral impressions, which is evident by the dreamlike quality of the state.

Tools used for Scrying

Although the crystal ball is the immediate tool that comes to mind when visualizing a scrying witch, it is far from the only one available. Other methods of scrying include:

A scrying mirror is a concave glass painted black on the reverse side.

•  Water in a black bowl or cauldron
• Scrying Mirrors
• Crystal Balls and/or scrying stone jewelry (also known as a keek stone)
• Fire/flames
• Incense smoke

Beginners to scrying may find it easiest to scry from fire or smoke, or to add a silver coin to a the back bowl of water. These methods allow a point of focus, depth, and in many cases movement which lulls the intuitive mind into a working state.

Scrying Tips

Following the candle scrying ceremony outlined here, relax your eyes and stare at your face in the mirror. Your face will darken, as with shadows, and will shift shape. This is extremely useful for past life work.

When scrying with a crystal ball, it is useful to hold the ball in one or both hands with a piece of black velvet behind it. It may also be helpful to turn the ball occasionally.

The Crane Bag

Alligator skin & blue kyanite bag.

The Witch's Crane Bag is a small bag made of leather, skin, hide, cotton, linen, wool or other cloth, or any substance capable of holding a collection of things inside it. The Crane Bag can be of any size and composition, and it may be of any color or combination of colors. It may be held or connected to you in any manner. Crane Bags are often worn on the belt, around the neck, or over the shoulder. It is analogous to the Native American medicine bag.

The Crane Bag of Celtic myth was owned by Manannan mac Lir (who is connected with cranes). It was fabricated from the skin of Aoife after she was transformed into a crane. This bag contained treasures which were only visible at high tide. These treasures include: Manannan's house, shirt, and knife; Goibniu's belt and smith's hook; the King of Alba's shears; the King of Lochlann's helmet; the belt of fish-skin; and the bones of Asal's pig.  Many modern Druids carry Crane Bags as part of their regalia.

Witches may place any spiritual object in their Crane Bags according to their personal preferences. Such items may include:

• Rocks and shells
• Plants, leaves, twigs, seeds, roots or pieces of bark
• Herbs, oils, infusions, concoctions, teas or healing brews
• Feathers, fur, nails, bones, claws, teeth or other animal parts
• Animal, plant or spirit totems of any kind
• Lucky charms of any sort
• Small gift from friends or coven mates
• Any other items with a spiritual purpose

What you place in your Crane Bag is entirely up to you. It is your medicine bundle where you can keep any spiritual objects that hold a special meaning for you. You may keep anything sacred to you in your Crane Bag and you need not share the contents of your Crane Bag with any other person whatsoever.  Indeed, it is recommended that a Witch does not share all of the contents of her Crane Bag with anyone, but let it remain a mystery and a secret which will build numen.  The Crane Bag is worn whenever a Witch wants protection, strength, and additional magical power.

The Stone Bowl

In our tradition the Summer Solstice is associated with the Castle of Stone, the King of which is the Oak King Cernnunos, and the treasure of which is the stone bowl.  The stone bowl is a very real working tool in this tradition, and is one of the first tools a witch procures.

Within this tradition of Craft, we recognize the demand for energy exchange when working magic. This exchange, or sacrifice, happens whether we are aware of it or not. It varies beyond our understanding, as sometimes a small charm can require a great sacrifice, whereas a huge spellworking may not require any exchange at all. It is because of this element of chance that we choose to be aware and actively involved in this sacrifice whenever we perform magic. Furthermore, we understand that every act of magic (whether selfless or selfish) requires this sacrifice, and we perform this divination prior to every spell.

The three stones (see below) are cast into a shallow dish bearing the markings shown above. These markings form a central glyph  representing both the laying of the compass and the wheel of the year.  It is divided into quadrants, each with a circular symbol that represent the solar holidays and the four castles. In the center of the design is a triskle, representing the Spiral Castle, the axis on which the compass turns.

The three stones are one of white, one of black, and one of red.  They may be found naturally in these colors, or may be ordinary river pebbles painted the appropriate colors. The three stones represent the White and Black Goddesses and Tubal Cain. The red stone, or Tubal Cain stone, is the indicator stone when casting into the bowl.

To use the stone bowl

Cast all three of the stones into the bowl. Whichever stone the red stone is closest to indicates to which Goddess the sacrifice will be made. This will flavor the nature of the sacrifice.

The distance between the black and white stones indicates the time and/or severity of the sacrifice to be made.

Types of sacrifices

Glass Castle (the light blue circle) – fasting/discomfort
examples: performing a no-kill fast, sleeping on the floor, walking somewhere outdoors barefoot, etc.

Stone Castle (the green crossed circle) – money/material
examples: gifting a personal item to someone, donating money to a charity, volunteering on a project without compensation, etc.

Castle Perilous (the red halved circle) – blood/pain
examples: shedding of own blood with intent, running an endurance race, lifting heavy weights, submitting to flogging, etc.

Castle Revelry (the golden circle with a central point) – abstinence
examples: abstaining from sexual stimulation for a period of time, giving up smoking, alcohol, caffeine, sugar or another addiction for a period of time, etc.

The Spiral Castle (the silver triskle) – no sacrifice necessary

Examples

Figure 1: The red indicator stone is nearest to the white stone, which is in the Castle of Stone. A material/monetary sacrifice to the White Goddess is called for here. The white stone and the black stone are far apart in the bowl, so the sacrifice must be large.

Figure 2: The red indicator stone is nearest to the black stone which in in the Spiral Castle, so no sacrifice is necessary for this working.

 

Figure 3: The red indicator stone is nearest to the black stone in the Castle of Revelry. A sacrifice of abstinence is called for in honor of the Black Goddess. The black and white stones are near to each other in the bowl, so the sacrifice is minimal.

Witch's Stones

The Casting Stones are used in conjunction with the stone bowl to divine appropriate sacrifice before an act of magic.

The Hag Stone is any stone with a natural hole through it.  Small versions of the hag stone may be strung on cords and worn for luck. Larger hag stones may be used to peer through to see into other realms.  The largest hag stones are used to promote prosperity and fertility by crawling though the hole.  The hag stone represents the feminine magical principle. Also known as a holy stone.

The God Stone is any single standing stone set in the ground.  These stones are phallic in appearance and in nature. They are often used as an axis for treading the mill and laying the compass. They also serve as markers and conduits for the natural dragon-energy in the land. The god stone represents the masculine magical principle.

The Oath Stone is certain stone used by witches to bind them to Tubal Cain and the Mighty Dead of their Craft, creating the red thread.  The oath stone is kept at the base of the stang and is sometimes represented as an anvil.

The Troy Stone is a stone with spiral and serpentine markings or carvings upon it.  It is used to mark portals in liminal space and to bind spirits. Also known as the gate stone.

The Fairy Stone is a stone with a small depression in the surface in which liquid offerings can be made to the spirits of the land and the ancestors.  Also known as a cup stone.

The Sun Stone is a clear quartz crystal used to hold or direct energy, or for scrying, in which case it is known as a keek stone.

The Thunder Stone is a flint arrowhead created by the ancestors.  It was once thought that these stones came from lightning strikes and that they could protect against storms. Also known as elf shot.

The Touch Stone is a volcanic stone with a slight magnetic charge used in the construction of the besom. Also known as Balanite or Basalt.

The Toad Stone is a mythical stone of great virtue said to be found in the head of a toad.  It may actually refer to the toad bone, a specific bone in the skeleton of a toad that confers magical abilities on its bearer.

The Bezoar is a stone found in the stomach of some mammals. The bezoar is said to bestow great magical virtue on its bearer, including protection from poison.

The Three Knives

Lay of the Arthame

by Nigel Jackson

This is the Metal: it dropp’d from the sky,

A ferrous tear of the Fire-Drake’s eye,

That burned through cloud and seared the soil 

and set the furious seas a boil,

That lay in ancient pores of earth,

Til Blacksmith’s brought it to birth,

Thrice-purified in Tubalo’s fire

It suffered the ordeal of the pyre; cast into waters, hissed it’s song,

The starry viper’s iron tongue was tempered on the anvil-stone,

Til radiant as changeless bone, 

With whispered charge and wordless spell,

The gramarye of Azazel. 

The edge was ground and thus was made,

The narrow road of sharpened blade. 

This is the metal: ‘twas shaped by Cain

Who wrought the heavenly Arthame.

There are three knives associated with our tradition. These knives each represent the three realms, and the White Goddess, the Black Goddess, and the Red God. Each knife is used in a very specific and exclusive way.

The first of the knives is the black-handled blade, the Athame. It is the tool of the first realm and relates to the Black Goddess. The Athame is used for cutting and describing numen. It is used primarily to cut and direct energy links and sometimes to delineate sacred space. Gate portals are cut with the Athame, and it is the Witch's primary weapon when in liminal space.

The second knife is the white-handled blade, the Kerfane. It is the tool of the second realm and relates to the White Goddess. The Kerfane is used for cutting and carving in the physical realm. It may be used to fashion a wand, carve into a candle, cut cords, or harvest herbs. If the Kerfane is sickle-shaped and used for harvesting plant materials it is referred to as a boline. If the Kerfane is shaped like a pin and is used for inscribing materials it is referred to as a burin.

The third knife is the red blade, the Shelg. It is the tool of the third realm and relates to the Red God of the Forge, Tubal Qayin. The Shelg is used for blood magic and sacrifice. It may be used to open a small wound in the flesh in order to produce blood for oath-taking or binding links. It is also used during the Housle to activate the Red Meal as a true sacrifice. Although sterile lancets are often used in place of the Shelg for safe bloodletting in small amounts, the Shelg is still symbolically passed over the wound to seal the link to Qayin.

The three knives are used in a test of fate during initiation to bind the Witch in service to one of the three deities of our Clan.