The Spirit of Albion The Movie  Pic: By Gary Andrews

Author Clare Hamilton raises some excellent points about the story of Arianrhod from the Welsh Mabinogi tales in this wonderful article from The Goddess Alive Ezine. Arianrhod was a Welsh Goddess who lived on an island off the west coast of Wales. At the centre of her castle was a turning glass tower, which contained the mystical Seat of Poetic Inspiration. Her name Arianrhod means ‘starry wheel’.

She is obviously a very powerful Celtic Goddess even though she apparently completely disgraces herself as a mother within her story.

Let us go to the bones of the story. A virgin births a child, apparently miraculously. The child grows up, is betrayed, killed, hangs on a tree in agony, then is resurrected by his uncle/father’s magic.

Sounds vaguely familiar? Here we have the prototype of  the central Christian story, the story of the Virgin Mary and the boy Jesus. And of course  behind that story lies the Mother/Son duo, the Mother Goddess and the King  Child, most  anciently  portrayed of course by Isis and   Horus.  So it seems we are dealing here with far more than would at first appear. For  here we have the heart of the great mystical Mother/Son relationship. This  should certainly give us pause for thought and make us look closely at the  apparent strange behaviour of Arianrhod.

Arianrhod, as we have noted, is a  very powerful Goddess, guardian of the Seat of Poetic Inspiration and linked  with the sea, the moon and the stars. She is also the prototype of the Virgin  Mary. There are many  depictions  of the Virgin Mary with a wheel of stars about her head, and she is also often  portrayed standing on a new moon, and at other times with the sea all around  her. We are looking here at the ancient figure of Arianrhod, her feet on the  new moon of Virginity; the wheel of stars, which is her name,  circling  her head; and the sea, which her tower commands, stretching away from her  island castle.

So why does she Deny her Son his Rights?

So let’s look at some of the  difficult questions arising out of her story.   If  Arianrhod  really is the great mother of the Sacred King child, then why does she seem so  vindictive? What are these so-called curses about? Why does she seem to be  denying her son his rights?

And why  is she so powerful that Gwydion has to work so hard to outwit her?

In addressing these questions, we  should first bear in mind the strong  possibility  that by the time her tale was written down by the Welsh monks, they had spotted  her  pagan  power and  decided  to deliberately slander her name. There are three injunctions that she  pronounces, a mystical number, and they represent her power over her son. They therefore have all the hallmarks of magic about them.

The first thing to notice is that  her pronouncements  are not curses at all. What she actually says (translated from the Welsh) is:

“I swear a fate, a destiny, upon the boy”.

This is very suggestive,  very magical, and her words in themselves are not even particularly contentious  – it is only the reaction of Gwydion that makes them appear so. In the first  injunction, on discovering that her boy hasn’t yet been named, she says that

 he  will have no name until she gives him one, not that she is denying him a  name.

In ancient  times, a name was a very magical  thing, and in native American cultures names are often not given until the  inner nature of the child is understood. Arianrhod sees him hit a wren with  extreme accuracy with his sling, and then names him ‘Lleu of the Skilful Hand’  He grows up to become the Welsh sun-God, counterpart of the Irish Lugh. He has  killed a wren, in ancient Welsh tradition  the King of the Birds, triumphing over the Eagle, so this is an act of  sacrificial kingship. We have here on Arianrhod’s  part not an act of wilful withholding  but the vestiges of an ancient  female rite of Naming.    To read more of this fascinating article  visit  Goddess Alive Magazine

Claire Hamilton’s  Amazing book  Maiden, Mother, Crone is  available  at either Amazon.co.uk  or Amazon.com

We also recommend  another book by Claire Called   Tales of the Celtic Bards available at Amazon.co.uk or Amazon.com

You can subscribe to Goddess Alive ezine at http://www.goddessalive.co.uk/subs_info.html

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Handster at http://www.handster.com/celtic_myth.html or by using the QR code opposite. It’s als found on the Opera Marketplace as well as AppBrain in the US.
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Sir Tristram Pic: explore-parliament.net

This is the fifth part in our new series of animated stories of King Arthur based on artwork found around the Houses of Parliament, courtesy of a wonderful Virtual Tour found at explore-parliament.net. In this piece, called Courtesy, we can see Sir Tristram here exemplifies the knightly virtue of Courtesy. Renowned for his skill in playing the harp, Tristram wins the love of the fair Isoud (or Isolde), daughter of the King of Ireland. He had come to Ireland so that she could heal him of a wound.

She was a noble surgeon, and she found in the bottom of his wound that therein was poison, and so she healed him. She was at that time the fairest maid and lady in the world. And there he learned her to harp, and she began to have a great fancy unto him.
- Malory

The painter, Dyce, was far from pleased at being required to fit into this narrow space such a scene as Malory describes.

I should say it was impossible to make a graceful composition of many figures in an upright space, unless the figures are so diminished as to render the picture an oblong.
- Dyce

He solved the problem by dividing the composition in half horizontally. The lower half – the foreground – holds the principal characters, while the background – the upper half – shows two young men hawking.

Sir Charles Eastlake, Secretary of the Fine Arts Commission, paid this painting a high compliment when he wrote to Cope, another artist who was at work on paintings for the Peers’ Corridor:

The best modern example of fresco that I know is Mr Dyce’s in the Queen’s Robing Room, next to the window. I speak of the economical use of darks and the clearness and brilliance which are the result.
- Sir Charles Eastlake

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Handster at http://www.handster.com/celtic_myth.html or by using the QR code opposite. It’s als found on the Opera Marketplace as well as AppBrain in the US.
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Gawaine Swearing Mercy Pic: explore-parliament.net

This is the fourth part in our new series of animated stories of King Arthur based on artwork found around the Houses of Parliament, courtesy of a wonderful Virtual Tour found at explore-parliament.net. In this piece, called Mercy, we can see Sir Gawaine swearing never to refuse ‘Mercy’. Sir Gawaine represents the knightly virtue of Mercy in a strange tale in which he fought a knight who had killed Sir Gawaine’s hounds, after they had slain that knight’s white hart.

Why have you slain my hounds?’ said Sir Gawaine. ‘For they did but their kind.’ And he smote the knight so hard that he fell to the earth, and then he cried mercy and besought him as he were a knight and a gentleman to save his life. Sir Gawaine would no mercy have, but unlaced his helm to have stricken off his head. Right so came his lady out of a chamber and fell on him, and so he smote her head off by misadventure.
- Malory

Gawaine returned to Camelot with the lady’s body on his horse, and her head hung about his neck.

And there by ordnance of the queen it was judged upon Sir Gawaine for ever after he should be with all ladies, and fight their quarrels, and that he should never refuse mercy to him that asketh mercy. Thus was Gawaine sworn upon the four Evangelists.
- Malory

Prince Albert made frequent visits to the Robing Room to view Dyce’s progress. His active interest in and support of the fine arts schemes in the Palace of Westminster could express themselves in both criticism and praise.

Personal Note

As we noted before in Part 3. of this series, Sir Galahad, the hart represented Christ,  ‘a white hart without spot’, so the potential interpretations of this strange story are innumerable.

I noted in that piece that the White Hart has an earlier origin than as a symbol for Christ, and the first part of this story is so reminiscent of the First Branch of the Mabinogion and the slaying or taking of Arawn’s stag, that we may be not only seeing evidence of that cross-fertilisation we have spoken of before, but also the archetypal nature of the symbols that makes them remain as an essential part of stories, culture and tradition for well over 1400 years – and that is only recorded history! How old is the story and its images before that?? I’d give a body part to have been there at the beginning!

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Handster at http://www.handster.com/celtic_myth.html or by using the QR code opposite. It’s als found on the Opera Marketplace as well as AppBrain in the US.
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Study for The Quarrel of Oberon and Titania Pic: Wiki

It is just over three hundred years since Robert Kirk, minister of Aberfoyle, died at the age of fifty two. But the question remains, did he really die or was he ‘taken’? Taken, that is, by the Good People, the elusive folk who lived under the earth in the green hills.The youngest and seventh son of James Kirk, Robert studied theology at St. Andrews and took his master’s degree at Edinburgh.

He became the minister of Balquidder and moved to Aberfoyle in 1685, having published a psalter in Gaelic the previous year. He had also been involved in preparing a Gaelic translation of the Bible.

We might expect a man of his background to have been a staunch supporter of established orthodoxy but this was no ordinary preacher. He recorded his thoughts in a manuscript dated 1691 entitled “The Secret Commonwealth of Elves, Fauns and Fairies“.

Descriptions of the Faerie World

There is no mention of hell and damnation, just a fair and reasonable account of the unseen world. There is nothing sentimental in his writing, and those seers who had the ability to witness the people of peace regarded it as an affliction rather than a gift. The Tabhaiser, or Seer,

“is not terrified with their sight when he calls them, but seeing them in a surpryse (as often he does) frights him extreamly”.

These are clearly not the tinselled fairies of Victorian England but the wild and elemental spirits of nature.

Two ways of gaining the second sight are described. The first is to acquire a tedder (tether) of hair which has bound a corpse to the bier. With this wound round the waist one must stoop down and look back through the legs until a funeral passes. The alternative is to find an accomplished seer who will place his right foot over the candidate’s left and lay his hand upon his head. This confers the power to see and seems not unlike descriptions of admission to a witch coven.

Kirk’s account of the secret commonwealth combines the banal with the surreal. They live in houses underground that are large and fair, lit with lamps and fires but without fuel to sustain them. They may abduct mortal women to nurse their children. Their clothing and speech is that of the country they live in. Their life span is longer than ours, but eventually they die. They have rulers and laws but no discernible religion. Moreover, unlike us, they do not have a dense, material form but have, in Kirk’s words,

“Bodies of congealed Air”.

Every Quarter they travel to fresh lodgings, a reference perhaps to the elemental tides of the seasons.

It is possible that Kirk employed seers to give him information about the dark and silent world, just as Dr. Dee relied upon Edward Kelly a century before.

What really happened to Robert Kirk?

An odd story of what became of the minister of Aberfoyle remains. His successor, the Rev. Dr Grahame, describes how Robert Kirk was walking one day on a fairy hill. He collapsed and was taken for dead. After the funeral, his form was seen by a relative. The spectre urged him to go to their cousin Grahame of Duchray.

Kirk was, he explained, not dead but a captive in the elemental world. His widow was pregnant and he foretold that if Duchray came to the christening, he, Robert Kirk, would appear. Duchray must then throw his dirk over the head of the apparition. If this was done, Kirk would be freed.

Sure enough, the birth and the christening came. Grahame of Duchray was there, just as he had been bidden. During the ceremony the outline of the former minister could be seen. Duchray was so taken aback that he failed to throw the dirk. And the author of the Secret Commonwealth disappeared, never to be seen again

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.

You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Handster at http://www.handster.com/celtic_myth.html or by using the QR code opposite. It’s als found on the Opera Marketplace as well as AppBrain in the US.

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Mermaid, The Book of Kells Pic:Live Internet

One of the illustrations in the Book of Kells depicts a mermaid (more precisely a merhermaphrodite) swimming up the centre of a genealogy.This lovely figure may refer to Iona and to Columba himself by means of a complex linguistic pun.The word, Iona, includes the Greek word for dove;Columba is Latin for dove and the mer-creature makes the island link. Although strange it is a relatively secure reference, since St Columba’s biographer makes the same pun and the Kells manuscript was probably made to celebratan anniversary of Columba’s death. If nothing else the illustration is testament to the popularity of the mermaid image.Sea dwelling creatures, half human and half fish, are common in European and Near Eastern folktales. As these people have immigrated throughout the world, traditions about these mysterious beings have travelled with them.

Mer-folk are rather like fairies in that they are supernatural, but not completely divine or immortal unlike, say angels.  As such they live in an ‘in between’ world. Their lives and actions under the sea, an environment alien to humans, parallel the human world, and they often interact with their human counterparts.

Mermaids are more popular in European folklore than mermen (the males are very popular in Eastern tales however). Marriages between a mer-creature and a human are the most common form of interaction in folktales.

In Irish stories a fisherman will steal the mermaid’s salmon skin cap and the ‘merrow’ i.e. mermaid, will then marry the human. They have children and are happy together, but one day she findsher salmon skin cap and returns to her own world. Usually the children of these marriages have a special characteristic inherited from their non-human mother.

Sometimes they are good fisherman, but other times they have red hair which marks them off as temperamental or fey. This may be where the Disney animators got Ariel’s red hair or it may be coincidence. Sometimes the offspring of these human mermaid marriagesare haunted by the sound of the sea and cannot sleep at night or are unable to speak

The most famous mermaid tale is that of Mélusine, a French Mer-creature and the ancestress of the Counts de Lusignon. Mélusine appears to the young Count as a beautiful woman (with legs).

Mer-creatures usually are able to walk on land and only have fins while in the sea. (Rather a convenient trait in these marriage tales). Mélusine promises to marry the count, as long as he attempts to see her bathing on a Saturday. Of course eventually he does just this, and realises that she is human from the waist upwards but a sea serpent from the waist down. She then disappears through the window with a screech and is never seen again. But she is heard crying on the battlements before a death in the family.

The merman story is much the same. A human woman marries a merman and lives with him in his beautiful underwater world. After a while she wants to return home to visit her family. She is warned not to overstay her visit and not to attend church services. Naturally she forgets and cannot go back to the sea. Coleridge’s poem, The Forsaken Merman is based on this story.

To read more of the facsinating article By Dr Juliette Wood  visit Here

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You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Amazon at http://www.amazon.com/Wizzard-Media-Celtic-Myth-Podshow/dp/B004W8QR58 or by using the QR code opposite.
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Hawthorns in blossom Pic: Tom00la

Marking the dawn of the Celtic pastoral year, the vernal equinox celebrates the Otherworld in the moment of balance which occurs as the sun crosses the celestial equator. For the Celts, the solstice and equinox observations may have enjoyed less celebrity than the festivals of Samhain, Imbolc, Beltine and Lughnasadh. However, the semi-annual equinox was carefully noted, as it also brought increased visitation from the Otherworld.

On the equinox, when day and night are momentarily equal, the busy activity  which keeps the human and Otherworld separate momentarily subsides. In that time of suspended activity, the conduit between the worlds yawns, the “veil becomes thin.” As the contents of both worlds mingle, the resulting tumult offers an opportunity for a renewed relationship with the unseen.

An open mind is required for transacting with the Otherworld. As Yeats writes

“If he is sceptical about them, and would fain reduce them one after another to
the rules of probability, this sort of crude philosophy will take up all his
time.”

Keep in mind that such meetings occur in a fleeting instant — longer dalliances in the world of mythos can lead to madness. It must be noted though, that those singular moments of insight can last a lifetime.

Whether one believes such encounters are an external journey or an internal experience, they can be considered similarly. In both instances the contents and symbols of the Otherworld are approaching the individual from without or within.

The equinox is just such a time when an association between worlds can be broached. By engaging in a simple ritual, perhaps a few minutes of silence, the frenetic conversations of everyday life recede, consciousness is reduced and the underlying song of the Otherworld has an opportunity to be heard.

The symbols which cluster around the Celtic observances of the vernal equinox and St. Patrick’s Day are particularly evocative in creating associations which are as useful to us as they were for our ancestors.

Through symbols like the leprechaun and the magic shillelagh, one can visit the fairy kingdom of the Tuatha De Dannan. Wise and giving, lusty and tempestuous, they offer their myths and enduring company. The snake and the trefoil shamrock give evidence of the presence of the Goddess, wrapped in her verdant cloak of Spring.

The four-leaf clover reminds us of the later solar worshipping invaders of Ireland, just as the leprechaun’s pot of gold recalls the educated, priestly class of Druids who controlled the gold trade routes connecting Erin to continental Europe.

T. L. Markey writes

“In the so-called primitive stage of many societies, websof associations, highly symbolic in nature, are frequently woven between periodsof the day, cardinal points, seasons, colours and social-spiritual values.”

The “primitive” dialect of symbols which was created by our ancestors stillexists in our unconscious minds. These symbols are composed of both personal and universal matter, and it is our association with those symbols which allows us
to hear the language of our soul.

Tending to those associations tends to the soul and renews the ligature that binds mortal to mythos. This year as you celebrate St. Patrick’s Day or the equinox, take a moment to enjoy the multi-layered experience of our ancestors.

Source

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Amazon at http://www.amazon.com/Wizzard-Media-Celtic-Myth-Podshow/dp/B004W8QR58 or by using the QR code opposite.
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The CMP Logo

In this show, released on St. Patrick’s Day, we follow the birth of the young Spring Maiden with some fascinating information about the Irish Saint Brigit and the Goddess Bride, as well as a beautiful section from The Druid Isle by Ellen Evert Hopman which is a follow-on from The Priestess of the Forest excerpt we read in SP06, a great piece of poetry accompanied by the wonderful harp of the much-loved Scott Hoye, and another 5 superb pieces of music.

You can hear the inspiring Damh the Bard, the high-energy Spiral Dance, the evocative and traditional Jennifer Cutting’s Ocean Orchestra and lastly, the atavistic Amergin by the MIGHTY Dolmen!! Is this all going to fit into one show? Only time will tell!

Hope you enjoy it,

Gary & Ruthie x x x

How to Listen

The Episode is available for subscribers on the feed, or you can download it or listen to it from our Episodes page. You can find the Shownotes for this episode in the Shownotes section.

If you come to the site and listen or listen from one of our players – have you considered subscribing? It’s easy and you automatically get the episodes on your computer when they come out. If you’re unsure about the whole RSS/Subscribing thing take a look at our Help page.

Hope you enjoy it,

Gary & Ruthie x x x

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Amazon at http://www.amazon.com/Wizzard-Media-Celtic-Myth-Podshow/dp/B004W8QR58 or by using the QR code opposite.
If you come to the site and listen or listen from one of our players – have you considered subscribing? It’s easy and you automatically get the episodes on your computer when they come out. If you’re unsure about the whole RSS/Subscribing thing take a look at our Help page.

Babes in the wood Pic: Wikipeadia

English medieval history and legend are sometimes so intricately interwoven that it can be exceedingly difficult to delineate with any degree of certainty the facts from the fantasy. The fascinating story of the green children of Woolpit is a particular case in point.The date was the 12th century a.d., but has been variously placed by chroniclers within the reign of King Stephen (1135-54) or King Henry II (1154-1189). The setting was the small Suffolk village of Woolpit, named after the deep trenches in which wolves were formerly captured.

One day, the villagers were amazed to see two very unusual children crawling out of one of these trenches. A girl and a slightly younger boy, they were both dressed in strange clothing and spoke an unintelligible language. But by far the most striking characteristic of these children was their skin–it was green.

Unable to communicate with them, and thoroughly perplexed as to what should be done, the villagers took the girl and boy, who were weeping and very forlorn, to the home of Sir Richard de Calne, a local landowner. Here they remained, treated with great care and kindness by Sir Richard and his servants. But the boy fell ill, and in less than a year he had died. Happily, however, the girl survived, and as she grew older her skin’s green hue gradually disappeared. She eventually married a man from King’s Lynn in Norfolk, a senior ambassador of Henry II according to some sources, and became known as Agnes Barre.

During her years in Sir Richard’s household, Agnes learned English and was eventually able to reveal something about where she and her brother had come from and the manner in which they had reached Woolpit. She claimed that they were from a Christian place called St Martin’s Land, where it was always twilight (and also where, according to one medieval chronicler of this story, everything was green), and which was separated from a much sunnier place by a wide river. One day, while tending their father’s flocks in a field, Agnes and her brother had been led away by the sound of church bells into an underground realm, and then somehow found themselves in Woolpit.

This peculiar account has lent itself to many different interpretations. Eminent British folklorist Dr. Katharine Briggs noted in A Dictionary of Fairies (1976) that it contained a number of themes prevalent in Faerie lore-the color green, a twilit land, subterranean worlds. Could this entire story thus be nothing more than another legend of elves or fairies visiting mankind? Continue Reading »

Welsh Cakes Pic: A Seasonal Celebration

Welsh author and Druid Kristoffer Hughs writes a wonderful blog. A Seasonal Celebration So in honour of it being St Davids Day. We would like to share a little of it with you. Over to you Kris……

St. David’s Day (Wales/Celtic) 1st Of March.

St. David or to lend him his Welsh title ‘Dewi Sant’ is the patron saint of Wales, and it is believed he died on the 1^st of March in the year 589 AD, making the first day of March his feast day.

He was the epitome of austere Christian devotion and his Abbey in Pembrokshire was the centre of religious worship, study and strict learning regime. It is believed that he prevented the destruction of the monastery at Glyn Rhosyn from Irish invaders by converting them to Christianity. However David possessed incredible magical powers and at one point it was said that he caused a hill to rise where previously there was only flat ground in order for the people to hear his teachings.

In the “Armes Prydain” or the “Prophesy of Britain” the prophet Taliesin foretells the joining of the Cymry (The Welsh) in allegiance with fellow Celtic nations to defeat and drive out the Anglo-Saxons from the Islands of Britain under the banner of St. David. By today, the feast of St. David is so much more than its religious, Christian associations, it symbolises the spirit of a people, of a nation and a language. Welsh settlers in other parts of the world join together on this day to celebrate their roots and connect to their people back in the Motherland.

St. David’s day is a day of feasting, of coming together in companionship and in celebration of culture and heritage, language and song. Although it is said that David himself was a vegetarian, the presence of lamb and chicken in traditional St. David day meals may have caused his eyebrows to raise not just his hills!

Today is the day of the red dragon, of daffodils and leeks, which are claimed to drive away evil spirits. Most Welsh people will wear a daffodil today to express their pride in a nation that has maintained and kept dear its traditions and celebrations. The daffodil was adopted as the Welsh national emblem in 1907.Today we gather and raise our glasses to David, to the saints, and the ancestors that they took their inspiration from.

To read more and see some wonderful Welsh recipes visit with Kris at  A Seasonal Celebration and to find out more about, Kristoffer dont forget to visit his website at http://www.kristofferhughes.co.uk/index.html

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Amazon at http://www.amazon.com/Wizzard-Media-Celtic-Myth-Podshow/dp/B004W8QR58 or by using the QR code opposite.
If you come to the site and listen or listen from one of our players – have you considered subscribing? It’s easy and you automatically get the episodes on your computer when they come out. If you’re unsure about the whole RSS/Subscribing thing take a look at our Help page.

West Cloister © Linda Witherill Pic: Glastonbury Abbey Symposium

From 2009 to 2012, the current Glastonbury Abbey Excavation Archive Project is studying and analysing the records of archaeological excavations on the site since 1904 and will provide new information about the Abbey. The project is an exciting collaboration between the Abbey and the Archaeology Department at the University of Reading, funded by the Arts and Humanities Research Council. The research is being undertaken by Professor Roberta Gilchrist and Dr Cheryl Allum (Reading University) working closely with Janet Bell (Curator, Glastonbury Abbey) and John Allan (Consultant Archaeologist to Glastonbury Abbey).

Excavations at Glastonbury Abbey began soon after the site was purchased for the Church of England in 1907, although a series of trenches had been dug by St John Hope three years earlier.

Since then, the 34 seasons of excavations up to 1979 exposed most of the plan of the medieval church and evidence of earlier phases of the monastery.

The results of the project will be published by the Society of Antiquaries with a generous donation from Linda Witherill, who took part in Radford’s excavations at the Abbey. The database will be archived with the Archaeology Data Service as an interactive online resource.

Read the full article and find out the background to the project on the Glastonbury Abbey Symposium website.

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You can also now download a Celtic Myth Podshow App from the iTunes store. This is the most convenient and reliable way to access the Celtic Myth Podshow on your iPhone or iPod Touch. You’re always connected to the latest episode, and our App users have access to exclusive bonus content, just touch and play! To find out more visit the iTunes Store or our Description Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Amazon at http://www.amazon.com/Wizzard-Media-Celtic-Myth-Podshow/dp/B004W8QR58 or by using the QR code opposite.
If you come to the site and listen or listen from one of our players – have you considered subscribing? It’s easy and you automatically get the episodes on your computer when they come out. If you’re unsure about the whole RSS/Subscribing thing take a look at our Help page.