Abby Cox tracks the history of the black, conical, flat-brimmed hat with a deteour into eighteenth-century dressmaking and other things: “Swedish witches are defnitely cottagecore witches, and I’m here for that.” If you are in a hurry and wish to skip patriarchy, etc., start at the 11-minute mark.
Not discussed: handfuls of the “witchy aesthetic” derive from the movie The Wizard of Oz (1939). It’s amazing how many people think that its costuming and makeup (green skin, striped socks) represent some kind of Historical Truth.
She is not saying that Quakers (the Religious Society of Friends, founded as a radical religious group in the late 1600s ) were seriously mistaken for satanic witches.Some propaganda, however, showed Quakers as influenced by the Devil, so the boundary was blurry at times. She is saying that the Quakers’ “look,” one that emphasized out-of-date fashions for women in particular — “fifty years out of date” — might have influenced the way that witches were portrayed in 18th, 19th, and 20th century popular art. (She dates the first graphic appearance to 1720 — see 27:40 in the video.)
There is no particular dress style associated with the actual women (and men) who were persecuated as witches in the 1400s–1600s. They wore whatever people wore in their time and place.
Julian interviewed me in June, and I wanted to be outside so that I could have a supporting cast of broad-tailed hummingbirds. They don’t show up too well though, and there was glare in a face. . . oh well.
Teresa Palmer as Diana Bishop, historian and witch, in A Discovery of Witches, Episode 1 (2018).
The final article in the “Paganism, art, and fashion” issue of The Pomegranate: The International Journal of Pagan Studies argues that books and television series based on historical witchcraft make it too safe and fail to portray “the genuine strangeness of witches and magic users in all periods and cultures.”
The authors, she argues, focus too much on female empowerment and not enough on how “early modern witches are much stranger and much more disconcerting than anything likely to be found at Hogwarts or in Narnia or Rivendell.”
Thus the “getting it wrong” of her title not an attack on contemporary Pagan-themed literature — she admits its creative energy— but the suggestion that if you think you are doing something “transgressive” now, you ought to look at some primary sources. And since she teaches at Oxford, she has some snarky things to say about how her university is portrayed in Discovery of Witches on TV.Purkiss’ exclamation over the fictional Professor Bishop, ‘That’s not how this works!” might equally well have been applied to the long-running British Inspector Morse mystery … Continue reading
M. Z. Bradley, she points out, was more influenced by Starhawk than by anything on ancient Pagan religion. “We tend to want goddesses with moral characteristics derived from Christianity and from the Enlightenment, and matriarchal societies with characteristics derived from Christian socialism and even Marxism. All this excludes the bitter truths embodied in Pagan myths and ideology.”
It’s not that we cannot enjoy Diana Bishop, heriditary witch and professor, but that, as Purkiss is anxious to point out, the real thing was even stranger than the “anondyne” modern re-creations.
Purkiss’ exclamation over the fictional Professor Bishop, ‘That’s not how this works!” might equally well have been applied to the long-running British Inspector Morse mystery series, set in Oxford town, which portrayed Oxford dons as bludgeoned on an almost-weekly basis. Apparently that is how positions are opened up for new hires. Perhaps Bishop arrived immediately after a murder.
The mid-6th century must have been a terrible time in the Mediterranean world, in Western Europe, and probably other places as well.
If you look up “the plague of Justinian,” you will find that much has been written on a bubonic plague outbreak during the rule of the Eastern Roman emperor Justinian, peaking around 540–541 CE. Apparently that is part of a larger disaster that started around 536.
I was introduced to Catastrophe by my friend and mentor, the English witch Evan John Jones, who had bought it shortly before I visited him in Brighton, and I stayed up late a couple nights speed-reading it after he and Val, his wife, had long gone to bed.
All that concatenation of volcanic eruption-plague-and climate change was brought back to mind by this article, “The Long, Harsh Fimbul Winter is not a Myth,” subtitled, “Probably half of Norway and Sweden’s population died. Researchers now know more and more about the catastrophic year of 536.”
Reconstructed Bronze Age house in Norway, typical of houses built up until 536 CE (Wikimedia Commons).
In essence, massive short-term climate changes slammed Scandinavia, northern Germany, and the Baltic region in the 530s, leading to abandonment of farms and settlements and the projected deaths of up to half of the peoples there.
“First came the Fimbul winter that lasted three years. This was a warning of the coming of Ragnarok, when everything living on Earth came to an end.”
This is how the story of the long harsh winter, called the Fimbul winter in Norwegian, begins, both in Norse mythology and in the Finnish national work of epic poetry, the Kalevala.
But why are stories that warn of a frozen end-time found in Nordic mythologies?
* * *
[Swedish archaeologist Bo] Gräslund was first to suggest that the Fimbul winter was a real event, and that it took place in the years after 536. He also pointed out that the 13th century Icelandic historian Snorre in his book Edda was not only concerned that it was very cold and the winters were snowy — Snorre was also concerned because there were no summers for several years in a row.
Whereas David Keys looks toward a volcano in Indonesia as the culprit, the Scandinavians are suspecting an eruption in Central America or Mexico:
“This must have happened somewhere near the Equator. Maybe it was El Chichón volcano in southern Mexico,” [climate scientist Fredrik Charpentier Ljungqvist] said.
The tiny particles from the two volcanic eruptions remained in the atmosphere for several years, leading to strong cooling in the northern hemisphere. Ljungqvist points out that there are now a number of studies of annual rings in old trees that confirm this.
He points out that the cumulative effect of two huge volcanic eruptions in the years 536 and 540 was what made this cooling quite exceptional and very long lasting.
The archaeological evidence is chilling, no pun intended:
In Denmark, archaeologist Morten Axboe found that large quantities of gold and other precious metal jewellery were sacrificed right after the climate shock.
Axboe’s theory is that these sacrifices were actions of desperate people. They sought to mollify higher powers and asked them to bring the sun back into the sky.
* * *
In Rogaland and the surrounding areas, until the disaster 1500 years ago, there were many skilled goldsmiths.
Both they and their craft disappeared.
The same thing happened to the many talented potters who had lived in western Norway before the Merovingian Period, from Jæren in the south to Sogn in the north.
It would take another thousand years before equally fine pottery was made in Norway.
You can’t blame people for thinking that this was The End, or at least a good preview of what The End would look like.
Sit back: there is lots here on Gardnerian Wicca in the 1950s, Gardner’s own lack of charisma by religious-leader standards and his puckish sense of humor, why the North American Gardnerians went wrong in trying to enshrine one Book of Shadows, and Lamond’s own thoughts on how patriarchal monotheism came to dominate the world.
This documentary begins with a protest of Z. Budapest speaking about witchcraft at the St. Theresa Public Library in San Jose, California on July 12, 1986. What follows are formal and informal interviews of Pagan leaders explaining what Wicca is, how the general public has a misconception of what witchcraft is, and why it is important for practitioners to come “Out of the Broom Closet” to educate the public.
Researchers discovered hnefatafl game pieces made of whale bone in upper- and middle-class Vendel graves. (Rudolf Gustavsson in Smithsonian)
The ancient Norse loved the game of hnefatafl, in which a king’s faithful followers try to protect him against raiding forces, which pretty well describes so much of early medieval politics.
An article in Smithsonian, however, suggests that these game pieces “were the product of early industrial whaling. If so, the pieces would be evidence of the earliest-known cases of whaling in what is today Scandinavia, and a sign of the growing trade routes and coastal resource use that paved the way for future Viking expansion.”
Edward J. Watts, The Final Pagan Generation(Berkeley: University of California Press, 2015) 344 pp., 29 B&W photographs, map. $34.95 (hardcover, ebook).
At the beginning of the fourth century CE, the Mediterranean world—the Roman empire—“was full of gods. Their temples, statues, and images filled its cities, downs, farms, and wildernesses… Traditional divinities also dominated the spiritual space of the empire as figures whose presences could not be sensed but whose actions many felt they might discern.” So writes Edward J. Watts at the beginning of The Final Pagan Generation. By the century’s end, he notes, “The cities of the empire remained nearly as full of the sights, sounds, and smells of the traditional gods in the 390s as they had been in the 310s.”
Yet much had changed. After Julian’s attempt in the 360s to sustain Pagan temples and education with imperial favor and financing—as those had sustained them in the past—the pendulum swung back, and it swung hard. Emperors such as Gratian (r. 367–83) in the West and Theodosius I (r. 379–95) in the East sought to cut the financial aqueducts that sustained large temples and celebrations. In those times, subsidy was not merely a matter of line items in the imperial budget, but a cut could mean handing over agricultural estates whose profits had sustained a temple to new owners. With sacrifice already banned, Theodosius by the 390s was punishing judges who set foot in Pagan temples and also forbidding private household rites. That these edicts were not always enforced is not the issue; the point is that Nicene Christianity enjoyed imperial favor while traditional religion no longer did.
From the days of Edward Gibbon (1737–1794), who essentially blamed the “fall of Rome” (the Western Empire, at least) on its embrace of Christianity, the question has been asked: “What changed?” The question also obsesses some contemporary Pagans (and not just members of the Julian Society), who ask, “Why did our ancestors abandon the old gods? Were they bribed, coerced, or tricked?” In the case of the four upper-class men on whose lives Watt concentrates, we can only use Gibbon’s favorite adverb, insensibly. Gibbon writes, for instance, that “the active and successful zeal of the Christians had insensibly diffused them through every province and almost every city of the empire” (Decline and Fall of the Roman Empire, vol. 1, chapter 16). Likewise, these men are presented as insensible to the structural changes that occurred while they rose to the pinnacle of their careers.
Three of four were rhetors and philosophers who left extensive writings behind: Libanius (314–c.393), a high-profile teacher of rhetoric, something like a tenured professor today; Themistius (317–390), another rhetorician, statesman, philosopher, and counselor to sev- eral emperors; and Ausonius (310–395), poet, teacher of rhetoric in the imperial household of Valentinian I, later a consul and praetorian prefect variously of Gaul, Italy, and Africa, also the only Christian of the four, converting late in life. The fourth was Vettius Agorius Praetextatus (315–384), a wealthy aristocrat, holder of various Roman priesthoods, and praetorian prefect of Rome, a post that might be compared to a cabinet ministry. As prefect of Rome, he oversaw the reconstruction of major temples, sponsored public rituals, and reinforced the city’s Pagan identity as against that of Milan, seat of the now-Christian Western emperors of the late fourth century.
Watts describes these men’s careers against the changing political landscape of the century, including Julian’s short reign. The last Pagan emperor, he writes, had a different, more Christian upbringing than Watts’ four exemplars: “Unlike those older men, Julian understood that Constantius’ [who preceded him] initiatives pointed toward a world in which traditional religious practices were suppressed and temples replaced by churches”
Lacking Julian’s imperial authority, Libanius, for one, fought a long rear-guard action against the erasure of traditional religion, denouncing how “the black-robed tribe [of monks], who eat more than elephants … hasten to attack the temples with sticks and stones and bars of iron, and in some cases, disdaining these, with hands and feet.” His methods were speeches, letters (perhaps the equivalent of an op-ed in the New York Times today), and appeals to the current emperor’s vanity, arguing that letting extralegal Christian power structures develop would harm the emperor’s authority and prestige. These stratagems worked for a time, but as each of the “final Pagan generation” passed away from their worlds of senates, classrooms, and dinners with important people— becoming truly insensible —the imperial world, which might still have looked, sounded, and smelled much as it did in their childhoods, was irrevocably altered.
Corinne Pamela Colman Smith, who went by the nickname “Pixie,” defied so many social norms, it’s hard to keep count. The more you read about her, the more impressed you get.
Those who left written comments about their impressions of her confess how hard it was to place her within the gender, class, and racial categories of her time. W. B. Yeats, for instance, wrote that she looked “exactly like a Japanese. Nannie says this Japanese appearance comes from constantly drinking iced water.”
The book has four contributors: Elizabeth Foley O’Connor, currently at work on her own full biography of the artist; Stuart Kaplan’s (the Tarot publisher) section “is just the most incredible and comprehensive collection of Smith’s works to date, and maybe ever”; Melinda Boyd Parsons covers Smith’s experiences with the theatre and ceremonial magick worlds; and Mary K. Greer discusses her work in the context of Tarot history.