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

———————————

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.

The Battersea bronze and enamel shield 350BC :British Museum, London Pic: Heritage Daily

A fabulous informative article written by Sue Carter appeared in Heritage Daily recently. We enjoyed it so much, we knew our readers would find it fascinating too.Here is a taster. Enjoy  :)

On whatever pretext you stir them up, you will have them ready to face danger, even if they have nothing on their side but their own strength and courage –Strabo, (64 BC – 24 AD).

Almost all of the Gauls are of tall stature, fair and ruddy, terrible for the fierceness of their eyes, fond of quarrelling and of overbearing insolence – Ammianus, (4th Century AD).

The two quotes were written by classical authors describing the Gauls of France as known at the time. Strabo would have been aware of Caesar’s excursion to Britain and possibly have read his account of the people he had been in contact with. Diodorus Siculus (V 21, 3-6) describes Britain as,

 ‘Inhabited by tribes that are aboriginal, and in their lifestyle preserve the old ways; for they make use of chariots in the wars….’

(Diodorus cited in Ireland 2003).

Due to Britain’s isolation it is possible that many of the ‘old ways’ were still being followed. There are very few eye-witness accounts of the inhabitants of Britain prior to the Roman invasions, and what we do have is from classical writers who believed them to be barbaric, not only in their fighting methods but in other aspects of their culture. Waite (2011) sums it up when he describes Celtic feasting and fighting to the death over the hero’s cut of meat

…. even if your opponent happened to be a blood relative. Whilst this sort of behaviour was deeply rooted in Celtic culture it would only have served to justify the Roman conviction that these people were no more than uncivilized barbarians who were prepared to fight like animals over a piece of meat (Waite 2011, 36).

Unfortunately, classical writing is our only written evidence of the Celtic culture, however, we do have the archaeological evidence to back some of it up.

The main area that is often picked up and portrayed of Celts is that of warfare. But how much do we know, and can understand, from the written and iconographic resources that we have?

Tacitus (cited in Work 1954) tells us that ‘the Britons had established a reputation for bravery and being good fighters’ (Work 1954, 258), and Allcock (cited in Harding 1974) informs that

Our knowledge of Celtic warfare, as derived from the literary records, very largely relates to engagements with the Roman Army, or to Roman attacks upon Iron Age strongholds (Harding 1974, 70).

Of inter-tribal warfare the European Iron Age is well known, but of Britain, little is known as it was ‘considered in isolation and assumed to be different from that of western mainland Europe’ (Hill 1995, 49). The archaeological evidence also suggests that, the once long perceived idea of hill-forts as centres of power, were actually places where older men, women and children could gather and take their cattle etc when trouble was imminent and thus used as places of refuge and not for defending or being defended by attacking neighbouring tribes, also that ‘their roles could differ through space and, on the same site, through time’ (Hill 1995, 68).

With the archaeological record showing marked increases between the middle pre-Roman Iron Age and the late pre-Roman Iron Age, raids and warfare appear to show signs of increasing with, ‘ample evidence of the accoutrements of war – swords, shields, spears, helmets and vehicle parts’ (Cunliffe 2004, 94). Evidence in the increase of inter-tribal warfare is given in the territory that once belonged to the Parisi, ‘Armed conflict was suggested by finds in late Arras Culture graves, and this presumably indicates that the Parisi were at odds with their neighbours’

(Dent 1983, 39).

The British Celt has been described as

 ‘taller than the Celts and not so yellow-haired, although their bodies were of looser build’

(Strabo cited in Work 1954, 257),

and their social structure was one of ‘actually or potentially hierarchically organized around the competitive relations between lineages or clan groups’ (Hill 1995, 73). Mainly living in acceptance of each other, tribes would fight over cattle or land,

The picture which emerges of the Celts and their society is of a restless exuberance loosely contained within a social system based on warrior prowess. Raiding and warfare were the essential mechanisms by which society maintained and reproduced itself

(Cunliffe 1997, 363).

The Iron Age was a time of oral histories, which were passed down through the generations and told over fires in feasting halls. The hero’s were held in high esteem and their victories shared by all, and kept alive

The end result of this teaching would be a warrior imbued not only with an ability to fight but also with a strong sense of himself and where he came from – a spiritual being who operated along a ritualized code of conduct (Waite 2011, 36)

He was loyal to his tribe, his leader and knew the code he had to follow into battle, should the need arise. As well as the physical and psychological aspects of the warrior, there were also the tools of his trade – his weapons.

The type to weaponry used by the Iron Age warrior has been discovered through archaeology and

….the majority are from hoards or votive deposits but a small group of burials provides valuable evidence about the way in which the warrior was equipped (Cunliffe 2004, 94).

The main item of weaponry was the sword. Changes have been recorded between the swords of the Bronze Age and those of the Iron Age, indicating a change in fighting methods,

The earlier varieties had tapering blades with long sharp points designed for both thrusting and slashing, whilst the later swords, with their long parallel sided blades, were better adapted for slashing …. the La Tène III slashing sward was designed for fighting on horseback ( Cunliffe 2010, 533).

With the use of chariots and mounted warriors, the need for a better designed slashing sword arose. The designs of which were expertly crafted by specialist smiths.

To read more of this fascinating article by Sue Carter Visit  Heritage Daily

———————————

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.

An image of Lugh/Lugus, from the website Pic: http://users.frii.com/asacat/dr.htm

[Originally published in An Tríbhís Mhór: The IMBAS Journal of Celtic Reconstructionism #1, Lúnasa 1997.] Copyright © 1997 Alexei Kondratiev. All Rights Reserved. May be reposted as long as the above attribution and copyright notice are retained. Of all the divinities known to have been worshipped in the Celtic world, the god whom the Continental Celts called Lugus and the Irish called Lúgh is one of the best documented and best understood. The sheer volume and widespread range of evidence related to him testifies to the importance of this god in Celtic tradition.

The evidence includes: iconography from the pre-Roman period; toponymy; iconography and epigraphy from the period of Roman occupation; testimony of Greek and Roman writers; literary traditions of the Insular Celts in the Middle Ages; modern folk narratives in Celtic languages; and ritual practices of conservative rural Celtic-speaking communities.

Each of these bodies of evidence provides only fragmentary information; yet when all are taken together and interpreted in the light each can shed on the other, a detailed and consistent picture emerges, which can direct us with a high degree of certainty to an understanding of what the worship of Lugus/Lúgh entails.

Continuity of Indo-European Heritage

Beginning around 500 BCE, and following on the sudden expansion of both wealth and territory it had experienced in the Early Iron Age, the Celtic world entered into a period of comfort and self-confidence where it took great interest in the cultures and artistic expressions of its neighbours and borrowed freely from them, yet always adapted such borrowings to native Celtic tastes and values. This blend of innovation and tradition gave rise to the unique La Tène style of Celtic art, and doubtless had repercussions at all levels of Celtic culture, particularly in the realm of religion. A whole vocabulary of religious symbols of Oriental origin began to be depicted on art objects during this period, suggesting a renewed interest in religious ideas as a result of exposure to foreign traditions, although there does not seem to have been any break with the fundamental Indo-European heritage.

Many of these imported symbols, as well as some other new ones of native origin, are found in association with one particular god whose sudden and widespread rise to prominence must have been one of the most important events in La Tène religion. This god is shown together with birds; horses; the Oriental Tree of Life motif; dogs or wolves; and twin serpents. But the imagery most intimately connected to him is the mistletoe leaf or berry. Most often the mistletoe leaves are shown at either side of his head, like horns or ears; but sometimes the symbolism is reversed, and the god’s head appears as the berry of a mistletoe plant. During the 300′s the mistletoe-leaf motif combines with that of the twin serpents (portrayed as facing S’s) into a new motif archaeologists call the “palmette”. This shape, crowning the god’s head or attached to some animal figure, is common (especially on coins) until ca. 200 BCE. Thereafter the twin serpents appear alone in what is still clearly a glyph representing this particular divinity. The fact that representations of the god and of his symbols appear most frequently on objects related to formal aristocratic banquets (such as the famous wine flagons from the Basse-Yutz burial in the Rhineland) strongly suggests that he was in some way associated with sacral kingship.[1]

Lugh, the Roman Mercury?

Because the Iron Age Celts did not use writing in religious contexts, we have no direct evidence of this god’s name. Toponymy, however, gives us a very strong clue. The name Lugudunon was given to a very large number of sites (Lyons, Loudun, Laon, Liegnitz, probably Leiden, etc.) from the later Iron Age. In Old Celtic dunon means “fort” (the word has modern cognates in Irish dún “fort” and Welsh din(as) “city”), but the Lugu- element can only be explained by a proper name. We have no dedications to a god by that name at those sites, yet the existence of mythological figures named Lúgh and Lleu in the later literary tradition of the Insular Celts makes it clear that a similar figure bearing the name Lugus must have existed in the Iron Age. In fact, a famous dedication to the Lugoues by the shoemakers’ guild of Uxama (Osma) in Spain; another inscription mentioning the Lugoues from Avenches in Switzerland;[2] and dedications to Lugubus Arquienobus from Orense and Lugo in Galicia (northwest Spain)[3] all indicate that the name Lugus was indeed known. Interestingly, in all these cases the name is given in the plural, as though it referred to a group of divinities rather than to a single god. We shall have some suggestions later as to why this may have been the case.

Why, if Lugus had played such an important role in Iron Age Celtic religion, was his name so little used in the period of Roman occupation that followed? Most scholars agree that it was the result of a successful interpretatio Romana, an identification of the Celtic god with a figure from the official Roman cult. In De Bello Gallico, VI, 17, Julius Caesar, commenting on Celtic society and culture even as he was crushing the life out of it, stated that “Mercury” was the most popular Celtic god, the creator of all arts and crafts, the protector of travelers, and a great patron of trade and wealth.

He was following the common Roman practice of forcing foreign religions into the categories and terminology of Roman state religion (in the same passage he uses the name “Minerva” to refer to a goddess obviously related to Irish Brigit, and known independently by native Celtic names), and in this case the identification certainly struck a chord in the conquered Celtic population, as dedications and representations of “Mercury” began to proliferate in the Romanized Celtic world and retained their preeminence right to the period of Christianization. Well over 400 dedications to “Mercury” or one of his common native titles have been found: his importance in Gaul and Britain far exceeded anything that the role of Mercury in Roman religion could have warranted. Clearly “Mercury” was the new, “modern” disguise of Lugus, and because the two names were seen to be precisely equivalent the native one was virtually never used in the Latin of official inscriptions.

Roman Classical Attributes

While Romano-Celtic images of “Mercury” often depicted him with his well-known Classical attributes — the winged cap (reminiscent of the earlier mistletoe crown), the caduceus (echoing the ubiquitous Iron Age twin serpents), the bag of money, the cockerel, the ram, the tortoise shell, etc. — many representations of him diverged considerably from Graeco-Roman canons. Some statues (e.g. the one from Lezoux) show him not as the usual clean-shaven ephebos but as a bearded old man wrapped in a Celtic shawl.[4] We will, however, single out three of these purely native traits as particularly important: his association with heights; his tendency to have multiple (usually triple) forms; and his role as sovereign protector, with warrior attributes.

Celtic “Mercury” is unambiguously linked with the high places of each tribal territory in which he was worshipped. Montmartre in Paris, the Puy-de-Dôme in the Auvergne, the Mont de Sène in the land of the Ædui — to name just a few out of scores of possible examples — were all originally Mercurii montes. Shrines crowned these heights, and one conventional depiction of “Mercury” was to have him sitting on a mountain.[5] The Aruerni commissioned (for a fabulous price) the Greek sculptor Xenodorus to make a gigantic statue of “Mercury” seated atop their sacred mountain, the Puy-de-Dôme: it was one of the famous sights of Roman Gaul.[6] Clearly the location of a temple to “Mercury” on a high place was of theological importance.

Continue Reading »

Saint Ivo of Kermartin (17 October 1253 at Kermartin, a manor near Tréguier, Brittany, France – 19 May 1303 at Louannec, Brittany), also known as Yves (in France), Yvo, Ives, or Ivo. He is a saint and patron of lawyers and abandoned children. Saint Ives is also the patron saint of Brittany. His feast day is on May 19. His first name is often associated with his family name, Yves Helory (also : Helori or Heloury, the orthography was not fixed at this time).

Life

He was the son of Helori, lord of Kermartin, and Azo du Kenquis. In 1267 Ivo was sent to the University of Paris, where he graduated in civil law. He went to Orléans in 1277 to study Canon law. On his return to Brittany having received minor orders he was appointed “official”, the title given to an ecclesiastical judge, of the archdeanery of Rennes (1280); meanwhile he studied Scripture, and there are strong reasons for believing that he joined the Franciscan Tertiaries sometime later at Guingamp. He was soon invited by the Bishop of Tréguier to become his official, and accepted the offer in 1284. He displayed great zeal and rectitude in the discharge of his duty and did not hesitate to resist the unjust taxation of the king, which he considered an encroachment on the rights of the Church; by his charity he gained the title of advocate and patron of the poor. Having been ordained he was appointed to the parish of Tredrez in 1285 and eight years later to Louannec, where he died of natural causes, after a life of hard work and constant fast.

Veneration

He was buried in Tréguier, and was canonized in June 1347 by Clement VI, his feast being kept on 19 May. He is the patron saint of lawyers. On his tomb was supposedly inscribed in Latin: Sanctus Ivo erat Brito/ Advocatus et non latro/ Res miranda populo. Roughly translated, this means: “St Ives was Breton/ A lawyer and not a thief/ Marvelous thing to the people.” Literally translated, it is a quip that refers to the fact that lawyers have a reputation for thievery. The church of Sant’Ivo alla Sapienza in Rome is dedicated to him. Poetically, he is referred to as “Advocate of the Poor.”

Source

Originally posted 2008-05-20 17:47:51. Republished by Blog Post Promoter

: The Great Oak, Sherwood Forest Pic Source

Among the sacred trees in many legends, the mighty oak stands noble and tall as The Tree of Life. The oak tree in lore and myth represents great symbolic meanings to the pantheons of mythology, to the druids, the faeries, and many cultures around the world.

Druids

Within the sacred circle of stones in an oak grove, the Druids conducted their secret rituals. The mistletoe that grew high in the oak was sent from Heaven by the god who chose the tree as sacred. They were priests of the god. They cut the mistletoe with the golden sickle during the ceremony. Anything that grew on the sacred tree was especially revered.

The Oak Grove was their major meeting place, where they held their rituals, for it provided protection and power for their magick and spells.

In Anglesea on Mona’s Isle in Wales there stands the “Holy Groves” of the Druids. It is an ancient sacred sight. In AD 60 the Roman general Gaius Suetonius Paulinus, determined to break the power of the Celtic druids, attacked the island, destroying the shrine and the sacred groves — remnants of the sacred oaks can still be found there.

The oak represented doorways to other realms — it was believed to provide protection and shelter when passing through to other realms. It was considered the giver of great powers and was most exalted of all trees by the Druids. Their most spiritual places were in oak groves.

Faeries

In Greek mythology Dryads, faerie-like creatures, lived in Oak trees. Dryads are actually tree nymphs. They are very shy except when around Artemis the goddess who was a friend to most nymphs. Dryads are very long lived and very attached to their homes. The Hamadryad, an advanced form of the species, would die if their tree died.

Oak trees are safe havens for many types of faeries. They love their homes and the fruit of the Oak, the acorns. They use acorns for decoration, wear the caps of the acorn for hats, and use the leaves for celebrations in autumn. Hundreds of faeries live in the oldest Oaks. Faeries can be found in every Oak tree.

Robin Hood

Legends tell us of Sherwood Forest, Robin Hood’s famous hideout in Nottinghamshire, England.
Since the end of the Ice Age, Sherwood has been densely forested. Among the trees stands the majestic and legendary The Great Oak of Sherwood Forest, which is 800 to 1000 years old.

The forest is now just a small part of the original Royal Forest that was used for hunting. Many old oaks still exist in the forest, especially in the area known as the Dukeries.

A portion of the forest was opened as a country park to the public in 1969. Each year the Robin Hood Festival recreates the medieval atmosphere wherein one finds Robin Hood, Maid Marian, and all the famous characters that live in legends. Jousters, people in medieval attire, a recreation of an encampment of the time, court jesters, musicians, alchemists, and others that populated the Robin Hood legend can be found strolling among the ancient oaks.

Common Beliefs

If two acorns are dropped in the same bowl of water, a couple can divine their future plans. If the acorns float together, they will marry — if the acorns drift apart, the couple will drift apart.

Carrying an acorn at all times will prevent old age from coming on, prevent illness, increase fertility and strengthen sexual potency.

Carry a small piece of oak for good luck.

Oak Apples (galls) on an Oak tree are made by a worm. The person who finds the worm will be assured of riches and prosperity.

Essence of the oak flower will prevent despondency and despair.

In German lore, it was believed that children came from an ancient hollow Oak tree.

To plant an acorn after the sun goes down will ensure fortune in the near future.

Oak fires draw illnesses away.

Tie two twigs together with red thread, like a cross, to guard against evil.

Place acorns on window sills to guard against harm and lightning.

Catch a falling oak leaf and you will be free from colds all winter.

If acorns are gathered by the light of the full moon, good faerie talismans can be made of them.
*******
Image Credits:
Robin Hood Major Oak
Author:Galli
Wikipedia Public Domain

http://en.wikipedia.org/wiki/File:Robin_Hood_Major_Oak.jpg

Source

———————————

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 Descripition Page.
You can now also find an Android version of the App which works identically to the iPhone version. You can find it on Appbrain at http://www.appbrain.com/app/celtic-myth-show/tv.wizzard.android.celticmythpodshow841 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.

Pic: Ireland History.org

The opinion is held widely but, it would seem, erroneously, that the copy of the Four Gospels seen in St. Brigid’s Convent Kildare, by Giraldus Cambrensis in 1185 was no other than the Book of Kells. This marvellous volume is often referred to as the Gospel-book of Kildare and, if other than the Book of Kells, has disappeared for ever. Of it Giraldus said :  It contains the Four Gospels according to St. Jerome, and almost every page is illustrated by drawings illuminated with a variety of brilliant colours. In one page we see the countenance of the Divine Majesty supernaturally pictured, in another the mystic forms of the Evangelists, with either six, four or two wings : here is depicted the eagle, there the calf; here the face of a man, there of a lion, with other figures in almost endless variety. . .

If you apply yourself to a close examination and are able to penetrate the secrets of the art displayed in these pictures, you will find them so delicate and exquisite, so finely drawn, and the work of interlacing so elaborate, while the colours with which they are illuminated are so blended, and still so fresh, that you will be ready to assert all this is the work of angelic not of human skill. The more often and closely I scrutinise them, the more I am surprised, always finding them new, and discovering fresh causes for increased admiration.

This book, Giraldus says further, was reputed to have been written in the time of the virgin, St. Brigid. Others attribute the "Book of Kells" in its original form to Colm Cille.

Excellent though the penwork of the Book of Kells unquestionably is, it is held by some to be surpassed by portions of the Book of Armagh, completed in 807 by Ferdomnach the scribe, who died in 845. Of this work Professor Westwood, who examined it with a magnifying glass says : "I have counted in a small space, scarcely three quarters of an inch in length by half an inch in width, in the Book of Armagh no less than one hundred and fifty-eight interlacements of a slender ribbon pattern formed of white lines edged with black ones." Other beautifully ornamented and illuminated manuscripts are the Book of Durrow and the Garland of Howth preserved in Trinity College, Dublin, the Stowe Missal in the Royal Irish Academy, and the Gospels of Mac Riaghail, written by a scribe of Biorra in the beginning of the ninth century, and preserved in the Bodleian Library at Oxford.

The Oldest Writing Appliances on Record

Pic: Ireland History.org

Taimhlidhe and Tamhlorgain are the oldest writing appliances on record. They were birch tablets and staves, often coated with wax, on which the inscription was impressed with a graph or style. These were in use in Pagan times and subsequently. Bards were entitled to use the tamhlorga for protection against dogs. The tamhlorga was sometimes called a slisneach. The people of Connacht are said to have regarded slisneacha as swords when seen in the possession of Patrick and his followers as they approached, and so thought to murder them. These again were superseded by parchment, pen and ink : the parchment was made from the skins of goats, sheep, c’alves ; the pens from the quills of geese, crows and swans.

Thus came books and illumination, and for the protection of the books came satchels, covers, shrines, some of the latter very beautiful. A book-satchel is mentioned among a number of presents given by St. Patrick to Fiach bishop of Sletty ; and Colm Cille, according to the Leabhar Breac, blessed one hundred polaires noble, one coloured. In the Tripartite Life,2 the polaire is defined as a tablet. " An alphabet is written for him " is quite a frequent statement in the Life of the Apostle, particularly on occasions of ordination or consecration.

Illumination developed rapidly after the coming of the faith. St. Doig of Inniskeen, who flourished in the sixth century, was " a most skilful writer of books," and St. Ultan is referred to in the next century as " a most accomplished writer and illuminator of books." Penmanship was brought to extraordinary perfection in the monasteries. Even the ink was unique, some of the illumination preserving its original freshness after the lapse of centuries. The great glory of Irish illuminated manuscripts is the " Book of Kells," a vellum copy of the Four Gospels, in Latin. When stolen out of the sacristy at Kells, in Meath, in 1006, the Annals referred to it as the great Gospel of Colm Cille, " the principal relic of the western world on account of its cover." Though the penmanship appears to have been regarded as of no exceptional excellence by comparison with other native manuscripts of the period, Margaret Stokes extolled it thus :

It is no exaggeration to say that, as with the microscopic works of nature, the stronger the magnifying power brought to bear upon it, the more is its perfection seen. No single false interlacement or uneven curve in the spirals, no faint trace of a trembling hand or a wandering thought can be detected. This is the very passion of labour and devotion, and thus did the Irish scribe work to glorify his book.

It is the most astonishing book of the Four Gospels which exists in the world," declares Professor Westwood of Oxford. And, referring to the designs, he adds : " How men could have eyes and tools to work them out, I am sure I, with all the skill and knowledge in such kind of work which I have been exercising for the last fifty years, cannot conceive. I know pretty well all the libraries in Europe, where such books as this occur, but there is no such book in any of them . . . there is nothing like it in all the books that were written for Charlemagne and his successors.

[Source]

Pic: stephen_dedalus

Sometimes when you are searching the net for information on the beliefs of the Ancient Celts, you’ll come across, as I did, the term Celtic Reconstructionist. Interested, I tried to find out exactly what Celtic Reconstructionism (often known as CR) is, and a brilliant article by Patricia Deneen published a year ago offers some general pointers. In summary, she says:

Celtic Reconstructionism (CR) is a growing movement in the Pagan community. The term Celtic refers to a group of languages that spanned from Northern Italy to the British Isles. Like other reconstruction religions, practitioners attempt to forge links between the pre-Christian past and modern religious practice.

Sources for Celtic Reconstructionism

There is a multitude of sources for Celtic mythology of varying scholarly quality. Reconstructionists look to the biases and educational background of authors and translators of this lore before deciding which are the most reliable.

Records of mythology of Celtic peoples such as the Welsh Mabinogion and the Irish heroic tales of the Tain are common resources.

Celtic Deities

CR is a polytheistic religion, that is the belief in many gods and goddesses. These deities are believed to be entities unto themselves worthy of reverence, not archetypal aspects of one godhead.

Celtic Reconstructionist Practice, Ritual, and Magic

This movement is still in its early stages, and there is no one set of dogma or rituals that is followed by every practitioner. However, there are some common denominators that individual CRs use while developing their practice.

Ethics in Celtic Reconstructionism

A virtue model similar to that of the Nine Noble Virtues of Asatru is part of the CR ethics system. Hospitality to the gods and humanity is seen as paramount. Other virtues include justice, loyalty, honor, honesty, and courage. Good and evil are not generally accepted concepts in CR as the gods and aspects of the world are seen as inclusive of light and dark.

The full article, over on Suite 101, is well worth reading and Patricia includes some references that have to be followed up, including one to the CR FAQ, which as I understand it, is pretty much the standard reference source for CR.

Pic: Pretanic World

Historically the picture we have of the Druids is almost entirely due to people who traded with the Celts, such as the Greeks, or to the people who fought against them, such as the Romans. Sadly, it is for the main part, during the downfall of the Celts, in Roman occupied Gaul, that we hear the most about the Druids. The Celts, though never a united force, were the first masters of Europe. Their influence stretching from the North western fringes of Greece, across the top of Northern Italy and into Spain. Going up into Austria, Southern Germany, Gaul and Scandinavia and finally the British Isles. It is generally agreed that the Celts evolved from populations already resident in Europe during the Bronze Age, from earlier Indo-European tribes.

The Celts first get a mention by name in the sixth century BCE when a Greek, Hecateus, states that the Celts were neighbours of the Ligurians, and that a remarkable feature of their society is the social structure, which was a hallmark of that society. However, it is not until 200 BCE that the Druids get a mention, by another Greek called Sotion. His work ‘Succession of Philosophers’ was lost, but a reference was preserved by another writer Diogenes Laertius: There are among the Keltae and Galatae those called Druids and Semnotheoi…’ (Semnotheoi were presumably Galatian priests).

That the Druids were known to the outside world by 200 BCE would suggest that they were already a powerful, well established group amongst their own people, with wide ranging powers. The reports from Julius Caesar in his ‘Gallic Wars’ (sixth book) certainly agree on this point.

The Celts who had continued their migration into Britain and Ireland became separated and isolated for many centuries from the Celts of Gaul. Language, culture and religion developed along different lines, and Druidism, as pictured in native records, was in Ireland considerably different from that of Gaul. The religion of the pagan Irish is commonly designated ‘Druidism’ and in the oldest Irish legends the Druids figure conspicuously. Continue Reading »

Pic: Designs of Tattoos

Early Celtic people were famous for their skills and talent in artwork of metal, jewelry, and even weapons. Throughout Ireland, there are many evidence of Celtic artwork and Celtic crosses. The Celtics are also well known for being warriors and regarded as fierce fighters by the Romans.

Throughout the years, modern Celtics evolved and established symbols for themselves along the way. They often wear these symbols to let others know that they are of Celtic descent. Despite very little written history that time, the symbols and knowledge have been passed down from generation to generation. Tattooing is one art form that immortalize these symbols to keep the Celtic tradition alive with the infamous Celtic cross, Celtic knots and other popular Celtic art.

The Celtic Cross is a symbol of Christianity so as a tattoo design it is a visual representation of faith and heritage. During the early days, it was used as a symbol of protection and territoriality across Europe. The intricate Celtic knot featuring loops with no end symbolize a never ending cycle of dying and rebirth. The pure and detailed knot tattoo designs are normally never ending, unless an individual adds an end to symbolize a spiral. These knots have a much deeper meaning in that they represent the repeated crossing of both physical and spiritual elements. The strands are symbols of life, love and faith. Celtic tattoos are also used to express one’s origin; that is, he is of Celtic descent like the Irish, Scots or Welsh,

Celtic tattoos are complex and contains a lot of details like knots, spirals and mazes. If you opted to go for one, make sure that you choose a tattoo artist who can render this design skillfully. You do not want this tattoo to go wrong especially if it will be an expression of how proud you are of your heritage.

If you are looking for Celtic tattoo designs, check out Celtic Tattoos and Photos

Or you can go straight to our Tattoo Gallery to choose your own tattoo design.

Author: Marilen Kapchan
Article Source: EzineArticles.com
Provided by: Import duty

Pic: Travian

After yesterday’s post about the new RPG add-on, Scion, it’s quite a coincidence to discover another game with a strong Celtic connection. This one, called Travian, is played entirely within your browser and allows you to take charge of a Vilage. You can play as either Roman, Gaul or Teuton and as you expand you’ll discover that the world is full of other villages run by other players all over the world. Obviously, lovers of the Celts will play the Gauls but this game allows you to exerience growth, trade and expansion in lots of different ways. I haven’t had a go at it yet, but it does look like fun – sort of a small, browser-based Age of Empires perhaps?

The Romans

The Roman empire is the easiest for newcomers to Travian. Because of their significant social and technological developments, the Romans are the masters of building coordination, and their troops are the Travian elite. Continue Reading »

Originally posted 2009-02-28 09:50:06. Republished by Blog Post Promoter