Saturday, 5 March 2016

Magickal Properties of Cast Iron

– by E.W. Modemac (additional material provided by cristalmighty on Reddit)

Cast Iron Caulrons
Cast iron has been a tool and friend of mankind since its invention in China in the fifth century BC. While the use of bronze predates the use of iron in everyday use by several thousand years (when the myths and legends that form the basis of witchcraft and mysticism were spun), the magickal properties of iron continue to be a potent and important part of spellcraft. For any practicing magician incorporating magickal objects into his or her rituals and spellcraft, possession of a piece of iron is essential; many altars have at least one piece of iron placed upon them. Ranging from rare daggers or wands of wrought iron, to the use of cast iron nails and horseshoes as objects for magickal focus or ingredients in spellcasting, objects of cast iron are a significant part of everyday magic and ritual. Of course, a cast iron cauldron is a famous, traditional, and very useful tool for any modern witch, for tasks ranging from burning herbs and incense, to magickal scrying and divination, to kitchen witchery and cooking magick.
Before cast iron, tools and weapons of iron were made by hand, when raw iron ore was forged, beaten and shaped into useful objects; this was "cold iron" because once cooled, it felt cold to the touch. The development of blast furnaces allowed iron ore to be melted, purified, and poured into casting molds to produce iron parts and objects, rather than being forged by hand. With the advent of cast iron, "cold iron" was supplanted by molded iron with different levels of purity. "Wrought iron" was originally a type of cast iron with a low carbon content, making the iron more malleable and flexible while still retaining much of its durability; this was the type of iron originally used for iron-based construction (the great bridges spanning the world's major rivers were originally crafted from, or reinforced with, wrought iron), and for weapon smithing as well. From a purely material perspective, the distinguishing characteristic of wrought iron is that it has inclusions of silicon and sulfur – slag – which are leftover from the process by which the metal is extracted from the ore. Wrought iron is truly the classical form of iron, and back before the mass production of steel through the Bessemer process, this was the most commonly available form of iron, as steel was far more expensive.
Wrought iron was phased out of mass production when production of modern steel improved and became the manufacturing standard, around the time of the Victorian era; and wrought iron is no longer used on a wide scale. Today, the term "wrought iron" is often used to describe "iron that has been forged or shaped by hand." This gives special properties to iron that are useful and beneficial to magicians, and such objects of "wrought iron" are highly treasured. (Creating a magickal object with your own hands can be seen as a method of empowering the object with your own essence, as opposed to purchasing or finding an item elsewhere. This is one reason why hand-crafted objects of metal, including iron, have great personal value to their creators.) Meanwhile, the term "cold iron" has become purely poetic and magickal: "cold iron" is used to refer to the power iron has over Faerie folk, magickal entities and spirits. However, cast iron itself is a powerful tool, one that has seen much use throughout the ages as an essential medium for magick and spellcraft. If you are fortunate enough to own an object of wrought iron, use it with pride. But an object of common cast iron will serve you well, and will quickly become a trusted friend in your rituals.
Iron is a symbol of strength, protection, and life-giving warmth, as it is seen as a combination of the elements of Earth and Fire. Until the introduction of steel, iron was the most durable metal known to man, and this was reflected in mythology and folklore as well. Thor's hammer Mjolnir was forged of iron, and even in the Norse myths the legendary heat retention properties of iron were demonstrated: the hammer would become so hot when thrown, Thor wore iron gloves to protect his hands. The legendary strength and durability of iron makes it a natural component in spells of protection. Many a witch obtains items of iron, such as antique keys, padlocks, or spikes, and places them by the door of his or her home in order to keep out poltergeists and other unwanted spiritual visitors. In particular, iron horseshoes are seen as especially powerful charms, and of old it was said that nailing a horseshoe above one's door kept out the Fae folk – and witches, too! Even today, a horseshoe is often called a "lucky horseshoe," and many households have horseshoes hung or nailed on the wall near their religious icons.
"In Morocco it is customary to place a dagger under the patient's pillow, and in Greece a black-handled knife is similarly used to keep away the nightmare. In Germany iron implements laid crosswise are considered to be powerful anti-witch safeguards for infants; and in Switzerland two knives, or a knife and fork, are placed in the cradle under the pillow. In Bohemia a knife on which a cross is marked, and in Bavaria a pair of opened scissors, are similarly used. In Westphalia an axe and a broom are laid crosswise on the threshold, the child's nurse being expected to step over these articles on entering the room." – from Iron as a Protective Charm, www.sacred-texts.com/etc/mhs/mhs09.htm
Iron's magnetic and electrical conductive properties are also well known, and among pagans who profess belief in mystical energies of all sorts (from ley lines to orgone energy and beyond), iron is a good attractor of nearly all these forces. Iron has a place in symbolic interpretations, psychic readings, and dream interpretations. As a positive symbol, iron represents strength and durability, as it is heavy and nearly impossible to break when it is shaped. A reader or interpreter can use this to suggest that iron-clad friendships and iron-bound promises are likely to be kept. There is also a negative interpretation (as every yin has a yang): iron is heavy, a weight that presses down and holds one back. Iron shackles are notorious for their ability to keep prisoners and captives bound and prevent escape. Meanwhile, the vulnerability of iron to rust, which makes it brittle and easily shattered, can also suggest the breaking of a bond, contract, or even ending a relationship due to neglect and decay.
But when it comes to this special metal, by far the most popular piece of iron used in witchcraft is the cast iron cauldron. In Celtic mythology, the cauldron is associated with Cerridwen the Crone (or the Enchantress), the darker aspect of the Triple Goddess, keeper of the cauldron of knowledge and inspiration in the Underworld. Her magical cauldron held a potion that granted knowledge and inspiration; but it had to be brewed for a year and a day to reach its potency. Cauldrons symbolize not only the Goddess but also represent the womb (due to the fact that it holds something) and on an altar it represents earth because it is a working tool.
The brewing of magical potions in a cauldron is one of the most common and popular images of the witch, one as well known as the witch flying on her broom. Countless stories, both ancient and modern, tell of the witch mixing all kinds of impossible ingredients in her cauldron to produce a powerful potion. All of the aspects of iron come together – attracting, collecting, and retaining magickal power; the symbolic womb of the cauldron giving birth to a spell; and the usefulness of a cast iron pot as a tool for cooking, roasting, and boiling delicious, life-sustaining foods – to give a special potency to a potion or spell prepared in a witch's cauldron. For most modern-day witches, a cast iron cauldron is used to burn loose incense on a charcoal disc, to make black salt (used in banishing rituals), for mixing herbs, or to burn petitions (paper with sigils or wishes written on them).
The natural impurities (slag) and structure of antique wrought iron give it a more "organic" feel to practitioners of magic, as it gives the impression of being more "raw" and attuned to the Earth than processed steel. Unfortunately, since it mostly fell out of favor in production in the later part of the 19th century (AD), wrought iron is rather hard to come by today. True wrought iron can be scraped up at yard sales and flea markets if you know what to look for, but can be hard to distinguish from mild steel without applying a good heating. Common items to look for that are wrought iron that you may be able to find include nails, hooks, door latches, horseshoes, chain links, and anvils made before the twentieth century. The age of these items should be readily apparent, and you can tell that they have been wrought into shape by their geometric appearance - even curved and smooth surfaces will actually be composed of several small flat surfaces, from where the object was shaped by repeated blows from a hammer.
Cast iron on the other hand is very easy to come by, and it is more than adequate for use in magickal rituals. You may find some horseshoes made of cast iron, but these would be reproduction horseshoes – an original horseshoe was made of mild steel, since it needed to be bent and shaped to fit the hoof of its user; and cast iron is too brittle to do that. For a similar reason, you will never find an old nail made out of cast iron, as it would be so brittle that it would shatter if you hit it too hard. Your best bet for spotting cast iron is to look for metal objects which have clearly been cast into shape: they will often have a line that divides the two halves of the mold, called the flash or gate mark. These metals will be extremely hard and brittle. Perhaps the easiest way to identify something as cast iron is to look at its color. If it is a dark gray or black color, and has a rough surface, there is a good chance it is cast iron, as cast iron is not a stainless metal.
Most cast iron cauldrons seen with, and provided by, witchcraft suppliers are small in size, usually a few inches in diameter and a size between one pint and two quarts. These cauldrons are typically of a smaller size both for convenience and price: a larger cast iron pot can be considerably higher priced, especially if you are looking for a rounded cauldron cast in the shape of the traditional medieval style vessels of old. However, if you are interested in obtaining a larger-sized cast iron pot, one that can be used for actual cooking as well as ritual, these larger sized pots are available in a number of places (not often mentioned on pagan Web sites!). A modern-day cast iron dutch oven will perform wonderfully as a magickal cauldron (not to mention being a useful tool in the kitchen). If you specifically desire a cauldron shaped like the legendary medieval cast iron vessels, you can look for a European style gypsy pot, Scotch bowl, or an African potjie. In the American South, huge jambalaya pots can also be found that will serve as magnificent cauldrons – though they may be prohibitively expensive if brand new! In addition to the cast iron cauldrons available at Charmed, it is also possible to order dutch ovens from many different suppliers, ranging from Amazon to Wal-Mart. Furthermore, antique stores and fairs all across the country can be a useful source of vintage cast iron, in varying conditions. (Here's a hint: One of the largest antique fairs in the entire country is held in western Massachusetts three times per year: the Brimfield Antique Show. See also: www.brimfieldshow.com )
Finally, I offer some advice on maintaining cast iron so that it remains clean and free of rust:
Cast Iron Chaos: www.modemac.com/wiki/Cast_Iron

…from MacBeth by William Shakespeare (Act IV, Scene 1):
A dark cave. In the middle, a boiling cauldron.
Thunder.
[Enter the three Witches]
First Witch:
Thrice the brinded cat hath mew'd.
Second Witch:
Thrice and once the hedge-pig whined.
Third Witch:
Harpier cries "'Tis time, 'tis time."
First Witch:
Round about the cauldron go;
In the poison'd entrails throw.
Toad, that under cold stone
Days and nights has thirty-one
Swelter'd venom sleeping got,
Boil thou first i' the charmed pot.
All:
Double, double toil and trouble;
Fire burn, and cauldron bubble.
Second Witch:
Fillet of a fenny snake,
In the cauldron boil and bake;
Eye of newt and toe of frog,
Wool of bat and tongue of dog,
Adder's fork and blind-worm's sting,
Lizard's leg and howlet's wing,
For a charm of powerful trouble,
Like a hell-broth boil and bubble.
All:
Double, double toil and trouble;
Fire burn and cauldron bubble.
Third Witch:
Scale of dragon, tooth of wolf,
Witches' mummy, maw and gulf
Of the ravin'd salt-sea shark,
Root of hemlock digg'd i' the dark,
Liver of blaspheming Jew,
Gall of goat, and slips of yew
Silver'd in the moon's eclipse,
Nose of Turk and Tartar's lips,
Finger of birth-strangled babe
Ditch-deliver'd by a drab,
Make the gruel thick and slab:
Add thereto a tiger's chaudron,
For the ingredients of our cauldron.
All:
Double, double toil and trouble;
Fire burn and cauldron bubble.
Second Witch:
Cool it with a baboon's blood,
Then the charm is firm and good.
[Enter Hecate, to the other three Witches]
Hecate:
O well done! I commend your pains;
And every one shall share i' the gains;
And now about the cauldron sing,
Live elves and fairies in a ring,
Enchanting all that you put in.
Second Witch:
By the pricking of my thumbs,
Something wicked this way comes.
Open, locks,
Whoever knocks!

Friday, 4 March 2016

Easter’s Pagan Roots: It’s not all Chocolate Bunnies & Jesus.

Via on Mar 3, 2016

Years ago, I used to wonder what chocolate bunnies, eggs and flowers had to do with Easter Sunday and the resurrection of Jesus.

And why on earth does Easter change days? How does Jesus sometimes resurrect on a Sunday in March, and then turn around and show up in April of the following year.
I never understood.
I knew Easter was one of two days we were forced into sitting through mass, with the other being Christmas Eve, so I learned that Easter was the day that Jesus came back to life after his crucifixion. I recall thinking that this was a little far-fetched, because people couldn’t come back to life—I knew at an early age that they couldn’t mean that literally.
So why the hype, and why the Easter baskets?
For me, Easter was morning mass attended in shiny new clothes complete with frilly hats, gloves, pastels and patent-leather Mary Janes. It was Easter baskets filled with eggs and treats, egg-dyeing and family dinner with all of the favorite dishes. I hated the clothes, the church and the Peeps; I just wanted the jelly beans and eggs.
I would wonder, what does this all have to do with Jesus coming back to life after the bad guys killed him? I now understand that this was the ancient part of my soul whispering to me. The part that subliminally remembered the the old ways—the pre-Christian, Pagan practices of our ancestors.
Yes, dear readers, I wrote about our Christmas traditions that flower from Pagan roots, and now I bring you the Easter ones (or as I should say, Ostara or Eostre, as it was known in Saxon Britain and Germanic Europe). Easter is one more holiday that Christianity so kindly integrated with Pagan feast days so that the “heretics” would obligingly convert and assimilate a bit more readily (when threatened with being burned at the stake as their other alternative).
First, let us discuss the changing date.
When I learned that Easter is directly tied to the cycles of the moon, I was dumbfounded. I thought to myself,“Jesus brought himself back to life just for the full moon? Isn’t that ironic. And not any full moon, but specifically the first full moon after the Vernal Equinox. Right-o, then, that isn’t pagan at all.” As soon as I gave this information the slightest consideration, I was blown away at this facet of Christianity—that people were taking information at face value, with no deeper consideration.
Next, let us discuss the name. Easter.
Ostara, or Oestre, was the pagan Goddess of Light in pre-Christian Britain and Europe. Her name is related to the Germanic words for “East” and “glory,” and where does the sun rise but the east, the direction of light. Her feast day was celebrated on the Vernal Equinox, the day that the sun lines up with the Equator, making for equal periods of night and day on Earth. The sun rises and sets on the Equator, officially starting the summer half of the year in the Northern hemisphere. There is evidence of this celebration in many ancient and indigenous cultures.
Third, I would like to talk about the eggs that I mentioned earlier.
As I pondered at a young age, they had nothing to do with Jesus after all! As Ostara was a celebration of light and fertility, rebirth and growth, and the egg has been a symbol of fertility and birth in many ancient cultures, it’s natural it would make an appearance for Ostara. The painting and hiding of the eggs was a pagan tradition of fun for the children, as they were told the painted eggs were laid by the Ostara Hare, (a.k.a. the ancestor of the modern day Easter Bunny).
Which brings me to the fourth tradition—the notorious Easter Bunny.
Who doesn’t recall being dragged to the local mall for horrible pictures with a giant, and frightening if I may, white bunny. In my first childhood Easter Bunny picture I am in tears, because I was thinking, “what the f*ck, I do not want this creepy thing holding me.” I remember it like yesterday, and haven’t forgotten my terror. All childhood trauma aside though, the Ostara Hare came about because it too, being a rabbit, was known for its ability to reproduce. We’ve all heard the phrase, “F*ck like rabbits.”  And as a matter of fact, the hares that inspired the fertility attribute are notorious for their ability to become pregnant with a new litter while they are already carrying a pregnancy. Wild, right? Like a wild hare.
Last, I come to the thing that most surprised even me. The tradition of brand new Easter clothes is rooted in pagan tradition.
The new clothes were a representation of hope and renewal, as well as invoking good luck for the coming year. Remember, before the Gregorian calendar came into being the world functioned according to the lunar cycles (which is why Chinese and Lunar New Year both come with the second new moon of our calendar year). Thus the second full moon (Ostara) of the lunar calendar is closer to the new year than it seems according to our Gregorian calendar, so this was a feast day that was historically close to the start of the year, thus the symbolism for ushering in new luck and fortune.

It is because I believe in knowing why I do the things I do that I share this with you. I do not do it to discredit or criticize anyone’s personal belief or traditions, but rather to share knowledge about where our traditions come from.

I rest easy in knowing there are others like me who seek to know.
Because knowledge is power, dear readers. It is from knowledge that we can make informed decisions about whether or not traditions are right for us—instead of just blindly following the herd like sheep. Or should I say lambs.
Whatever you choose, be a spreader of light this Easter season.

Wednesday, 2 March 2016

18 Incredible Photographs Of Time Standing Still

On Friday, Jonathan Ross was joined on the Radio 2 arts show by Jason, The Urban Explorer.



Through his Urban Explorer Blog, Jason records his visits to abandoned buildings with some quite stunning photography.
He's been kind enough to let us show you some of his work, featuring trips to hospitals, mortuaries, manor houses and swimming baths:

Davenport and Wardle Silk Mill, Leek


Davenport and Wardle pioneered the manufacture of artificial silk stockings, employing 2,500 people at its peak, before going into receivership in 1970.

Stallington Hall Hospital, Stoke


Stallington hall was occupied as early as 1881, before being sold by owner Sir Hill Child to the city of Stoke-on-Trent, who made it into a home for the mentally ill.

Selly Oak Hospital, Birmingham


Selly Oak Hospital cared for the sick for nearly 140 years, before being sold to a property developer. It is now partly demolished, making way for 650 new homes.

The photo above shows the hospital's mortuary fridge - thankfully, unoccupied.

Longbridge Car Plant Tunnels, Birmingham

Nowadays, the Longbridge site bears little resemblance to the thriving car plant that once proudly dominated the landscape.
Lickey Road, where the cars of MG Rover workers used to be parked outside the factory, is now a housing estate.

Worthmore Cottage, Worthing


"This was a delightful little cottage on the way back from Powys that we came across accidentally. The house contained a lot of lovely old nick-nacks and antiquities which the camera couldn’t get enough of"

Malvernbury Care Home

Originally Dr Johnson's water cure establishment as early as 1887, Malvernbury later became a nursing home and was visited by Florence Nightingale.
It has now been purchased by a developer who, it is anticipated, will convert the site into apartments.

Beelitz-Heilstätten, Potsdam


Originally a sanatorium, Beelitz-Heilstätten became a military hospital during the First World War.

During October and November 1916, Adolf Hitler was treated at Beelitz-Heilstättenfor a leg wound at the Battle of the Somme.

Severalls Asylum, Colchester


This psychiatric hospital in Colchester opened in 1913, and housed around 2,000 patients.

An Old Cottage, Mold


Both the bedroom (above) and car (below) were found in an old, abandoned cottage.

Crookham Manor Church Organ


You might be surprised to learn that this former manor house and boarding school was only abandoned in 2007.

Calcott Hall, Llanymynech

Originally home to a dairy farm built in 1725, this four-bedroomed hall has been empty since the last owner died in the 1970s.

The rest of the home is a dishevelled mess of 1960s clothing, a vintage car, certificates and documents.

Pool Parc Asylum, Wales


Now in urgent need of repair, Pool Park was rebuilt in 1826 before North Wales Counties Mental Hospital acquired it in 1937.

St Gerards & St Edwards, Father Hudsons Society, Coleshill

St Gerard's was opened as an infirmary by The Birmingham Diocesan Rescue Society for the Protection of Homeless and Friendless Catholic Children, led by founding secretary Father Hudson.
Changes to NHS funding, as well as the way in which orphaned children were dealt with, meant that St Gerard's closed in 1988.

Balsall Heath Swimming Baths


All images © and used by kind permission of Jason Kirkham.
]

Tuesday, 1 March 2016

Chickpea Stew With Orzo and Mustard Greens

A complex and colorful chickpea stew, this is rich with vegetables, olive oil and Parmesan cheese. You can vary the vegetables to use what you’ve got. Here, I keep to the basics, adding carrots for sweetness, fennel or celery for depth, cherry tomatoes for looks. Tender greens, wilted into the bubbling mixture at the end, are optional, but they do add a bright, almost herbal note. I particularly love using baby mustard greens, which are pleasantly peppery. But spinach, arugula and kale work well, too.


INGREDIENTS

  • 2 tablespoons extra-virgin olive oil, more for drizzling
  • 2 medium carrots, peeled and chopped
  • 1 small fennel bulb or 2 celery stalks, chopped
  • 1 medium onion, chopped
  • 2 cloves garlic, minced
  •  Pinch crushed red pepper flakes
  • 2 teaspoons minced fresh rosemary(optional)
  • 2 cups chicken or vegetable broth (or water)
  • 1 (15-ounce) can chickpeas, rinsed and drained
  • ¾ cup roughly chopped cherry or grape tomatoes
  • ½ cup whole-wheat or regular orzo
  • 1 quart loosely packed baby mustard greens or spinach (about 5 ounces)
  •  Salt and freshly cracked black pepper
  •  Chopped scallions, for garnish (optional)
  • ¼ cup finely grated Parmigiano-Reggiano cheese, more as needed
  •  
    Nutritional Information

PREPARATION

  1. In a large pot, heat the olive oil over medium-high heat. Add the carrots, fennel or celery, and onion. Cook until tender, about 5 to 7 minutes. Add the garlic, red pepper and rosemary, if using, and cook another 2 minutes. Pour in the broth, if using, or water, plus an additional 2 cups water and bring to a boil.
  2. Once the mixture is boiling, add the chickpeas, tomatoes and orzo. Reduce to a simmer and cover with a lid. Simmer 10 minutes, or until the orzo is tender. Uncover and stir in the greens, letting them simmer until soft, about 2 minutes.
  3. Add more water if you want the mixture to be more souplike, and season with salt and pepper. Ladle into bowls and top with chopped scallions (if desired), grated cheese and a drizzle of olive oil.
  4. http://cooking.nytimes.com/recipes/1015767-chickpea-stew-with-orzo-and-mustard-greens

J.R.R. Tolkien’s Little-Known Original Drawings for the First Edition of The Hobbit

A lively new look at one of the most beloved fantasy stories of all time.

In October of 1936, J.R.R. Tolkien(January 3, 1892–September 2, 1973) delivered to his publisher the manuscript of what would become one of the most celebrated fantasy books of all time. In September of the following year, The Hobbit made its debut, with 20 or so original drawings, two maps, and a cover painting by Tolkien himself. But it turns out the author created more than 100 illustrations, recently uncovered amidst Tolkien’s papers, digitized by Oxford’s Bodleian Library, and freshly released in The Art of the Hobbit (public library) — a magnificent volume celebrating the 75th anniversary of The Hobbit with 110 beautiful, many never-before-seen illustrations by Tolkien, ranging from pencil sketches to ink line drawings to watercolors. It’s a fine addition to this omnibus of famous creators’ little-known talents, and a priceless piece of literary history.
In creating the artwork for The Hobbit, Tolkien borrowed from a short story he had written for his son Michael, titled “Roverandom.”
Also included are conceptual sketches for the now-iconic dust jacket cover painting of the mountains Bilbo Baggins transverses in his adventures.
HarperCollins publisher David Brawn observes The Hobbit’s unfair eclipse in The Lord of the Rings’ shadow:
People have celebrated Tolkien as a writer for years — you haven’t been able to get away from him since all the books of the century polls. But The Lord of the Rings has always been the focus since it was published in 1954 — it’s a much more grown-up, significant book. It has overshadowed The Hobbit as a more old-fashioned, children’s book, which has become known in the context of The Lord of the Rings. The anniversary allows us to move the spotlight back on to the book which started it all.”
A rare piece of cross-disciplinary creativity from the mind of one of modern history’s greatest creators, The Art of the Hobbit is equal parts literary treasure and treat of art, exploring the notion of the author as designer — a particularly timely concept in the age of self-publishing and disciplinary cross-pollination in the making of books. Complement it with this rare recording of Tolkien reading from his beloved book and some gorgeous vintage illustrations for it from around the world.