Triquetra (Triqueta, Trinity Knot)

The triquetra (sometimes, triqueta) is a tripartate symbol

composed of three interlocked vesica pisces, marking the intersection of three
circles. It is most commonly a symbol of the Holy Trinity (Father, son, Holy spirit)
used by the Celtic Christian Church, sometimes stylized as three interlaced fish:

The triqueta symbol predates Christianity and was likely a Celtic symbol of the
Goddess, and in the North, a symbol of the god Odin. Although it is often
asserted that the triquetra is a symbol of a tripartite goddess, no such goddess
has been identified with the symbol. Similar symbols do occur in some Norse and
Celtic goddess imagery, but most likely represents the divisions of the animal
kingdom and the three domains of earth mentioned above.
Triplicities were common symbols in Celtic myth and legend, one of the possible
reasons Christian beliefs were so easily adopted by the Celtic people. The
triqueta makes an ideal Christian symbol. It is a perfect representation of the
concept of three in one in Christian trinity beliefs, and incorporates another
popular Christian symbol, the fish, in its original form of the vesica pisces. It is
sometimes enclosed within a circle to emphasize the unity aspect.

In Wiccan and Neopagan belief, the triqueta symbolizes the triple aspected
goddess (maid, mother, and crone). Some Christians have protested this
appropriation of the symbolhowever, ironically enough, the original Christian
fish symbol was derived from an early symbol of venus, one representing female
generative organs- making the triquetra perfectly appropriate symbol for a
Goddess revival. The triquetra is also considered to represent the triplicities of
mind, body, and soul, as well as the three domains of earth according to Celtic
mythology- earth, sea, and sky.

The triquetra also appears on the television series Charmed, probably as a less
threatening alternative to the pentacle (the preferred emblem of witches real
and imaginary). In the show, it represents the power of three, acting as one,
which in turn represents the three sisters.Evangelical tract writers and
conspiracy theorists like to label the triquetra a satanic symbol, claiming it is a
stylized 666, an allusion to the number of the beast in the Book of Revelation.
This, however, is simply wishful thinking. The triquetra of interlaced fishes is one
of the very earliest of Christian symbols, predating the crucifix by hundreds of
years. The purported satanic meaning of the symbol is a modern evangelical
interpolation.

Triqueta of interlaced fish from the Roman Catacombs

Triqueta of fish from an Egyptian bowl

Sheela-na-gig (Sla na Gige)

The Sheela-na-gig is a shocking, immediately noticeable figure

found in Celtic medieval stonework. Sheela is most commonly depicted as a
squat, ugly female creature using her hands to display grotesquely large
genitals. Sheelas of various ages adorn stone steles all over the Irish
countryside ; they are also found in the intricate carvings in cathedrals and stone
churches in ireland, England, and throughout Europe, often in tandem with
the Green man. Sheela is very likely related to the ancient Celtic Goddess; her
images are much older than the churches they often appear in, suggesting they
are elements of much older religious sites. Many closely resemble ancient Viking
figures of a creator goddess Ormgudinna.

A Sheela. To see a gallery of Sheelas: Sheelana-gig

Cernunnos (Horned God)

Cernunnos is the mysterious horned deity worshipped by Iron age

Celts across Europe until the end of the first century. Very little is known about
Cernunnos except his name and his image, which appears on numerous stone
carvings and other religious artifacts throughout Europe. He appears crowned
with stags antlers, often seated in a meditative position, and is almost always
depicted with images of wild game animals. His Celtic name is unknown,

although he may be associated with Derg Corra, the early Celtic Man in the
Tree. He may also be related to the Celtic god Fionn (Finn MacCuill), who had a
close affinity with deer.
Cernunnos is a descriptive Roman name meaning horned one. He is often
associated with Herne the hunter, a character of British folk myth, and the
Green man of European architecture. Roman invaders associated Cernunnos
with the god Mercury. He is later associated with Herne, a trickster character of
European legend, and his appearance arguably influenced the appearance of the
Christian Devil. The image which appears above is taken from the Gundestrup
Cauldron, a ritual object of unknown use discovered in a peat bog in Denmark.
Shakespeares Merry Wives of Windsor describes the character of Herne:
There is an old tale goes that Herne the Hunter, Sometime a keeper here in
Windsor Forest, Doth all the winter-time, at still midnight, Walk round about an
oak, with great raggd horns; And there he blasts the tree, and takes the cattle,
And makes milch-kine yield blood, and shakes a chain In a most hideous and
dreadful manner. You have heard of such a spirit, and well you know The
superstitious idle-headed eld Receivd, and did deliver to our age, This tale of
Herne the Hunter for a truth.

Herne the
Hunter

Segment
from the
Gundestrup
cauldron, a
ritual object
of worked
silver
discovered in
a Denmark
peat bog and
decorated
with images
from Celtic
mythology

Green Man (Foliate Head, Jack-of-the-Green)

The Green Man is a mysterious, eerie figure depicted mainly in

medieval European stonework, believed to represent an ancient vegetation deity.
The Greenman is nearly always depicted as a foliate head, that is, a face made
of leaves and vines. Sometimes, it appears as a human face peering out from
leaves, other times, with animal features.
The image of the Green man may have been adapted from Roman decorative
stonework, or from Celtic interlace figures. Older versions bear a very close
resemblance to Celtic and Norse interlace figures, and often combine plant and
animal features. One of the oldest examples was discovered on an Irish obelisk
that dates to the third century BCE. This may be the Derg Corra of Celtic myth,
the man in the tree, a trickster-like character always accompanied by three
elemental animals: a raven, stag, and trout.

The name green man was coined in the late 1930s. Other names for this figure
are Jack in Green or Jack of the Green. Many believe the greenman is related to
the pre-Christian Celtic deity Cernunnos; others that it is simply an expression of
the forces of nature, or even a reminder that we, too, are part of the cycle of
life. There is no real evidence linking the images to any particular philosophy,
cult, or belief, although the faces are strikingly uniform through time.
Curiously, he greenman is not a strictly European phenomenon- similar images
appear in Asian, Indian, and Arabic architecture and art as well. Whatever his
origin, the Green Man is now an unmistakable mascot of the Neopagan religious
movement, where he serves as the embodiment of untamed nature, an emblem
of the male principal, and a symbol of fertility and vibrant life energy.
Celtic Tree of Life (Crann Bethadh)

The image shown here is one of many representations of

the Celtic Tree of Life.

The Tree was a central part of early Celtic spirituality.To the Celts, the tree was a
source of basic sustenance- a bearer of food, a provider of shelter and fuel for
cooking and warmth. Without trees, life would have been extraordinarily difficult.
Wood from sacred trees had magical properties, which was reflected in the
Celtic Ogham alphabet, wherein each letter represents a particular sacred tree
(modern Ogham divination is based on the uses and importance of these sacred
trees to the Celtic people). Some trees provided food, some wood for making
hunting weapons; others were sacred to the fairy-folk or to the Gods. In Celtic
creation stories, trees were the ancestors of mankind, elder beings of wisdom
who provided the alphabet, the calendar, and entrance to the realms of the
Gods. Trees were also associated in the Shamanic beliefs of the Druids and other
Celtic peoples with the supernatural world.
Trees were a connection to the world of the spirits and the ancestors, living
entities, and doorways into other worlds. The most sacred tree of all was the Oak
tree, which represented the axis mundi, the center of the world. The Celtic name
for oak, daur, is the origin of the word door- the root of the oak was literally the
doorway to the Otherworld, the realm of Fairy. The word Druid, the name of the
Celtic Priestly class, is compounded from the words for oak andseeing- a Druid
was one who was Oak seeing, meaning learned in Tree magic and guardian of
the doorway. Long after the Druids of old have vanished into the mists of time,
the lore of trees continues as a vital part of Celtic myth and folklore. Countless
Irish legends revolve around trees. One could fall asleep next to a particular tree
and awake in the fairy realm.

Tree of Life from a Pict stone carving

In Celtic legends of the Gods, trees guard sacred wells and provide healing,
shelter, and wisdom. Trees carried messages to the other realm, and conferred
blessings. o this day, trees can be seen in the Irish countryside festooned with
ribbons and pleas for favors, love, healing, and prosperity. The interlaced figures
known popularly as Celtic knots usually represent sacred trees and plants, and
the sacred animals of the forest.

The medieval Green Man or foliate god derives from Celtic tree motifs and
represents the animus of nature; the spirit of the forest and of the hunt, and is
pictured as a spirit face in the form of gathered leaves and sprouting tendrils.
You can read more about the Tree of Life and its significance in various
cultureshere.

Uffington Horse (White Horse)

This gigantic earthwork best known as the Uffington Horse, is

located on a hillside in Oxfordshire, England, and dates to the Bronze age.
Measuring almost four hundred feet long, the figure was created by filling dug
trenches with powdered chalk.The horse is one of many chalk figures scatted
across the English countryside. It has been speculated that the horse is possibly
a remnant of worship of the Celtic Goddess Epona, or the sun God Belenus.
Others note the extended tail and contend that the horse is actually a dragon.
The figure may be a remnant part of a giant zodiac comprisedc of chalk figures,
the majority of which are now missing.

Cerne Abbas Giant (The Rude Man)

This gigantic chalk earthwork is formally known as the Cerne

Abbas Giant, but is best known by the moniker rude man, in reference to his
gigantic genitalia. The figure can be found carved into chalk bedrock on a
hillside in Dorset, England. The figure is of indeterminate age, but is believed to
date from the Iron age, and is probably a representation of the Celtic God In
Dagda, a deity with similarities to the Greek Hercules. In 2008, there was some
controversy caused when a promotional figure of cartoon character Homer
Simpson was painted alongside the giant, causing a number of groups
representing historical and pagan religious interests to object.

The giant as viewed from the air

Celtic Knots (knotwork, Celtic interlace)

The Celtic Knot is one of the best known motifs in Celtic jewelry
and art. The delicate twists and turns are found in ancient stone art and tattoos,
in illuminated manuscripts- in fact, just about anywhere the Celtic people have
traveled. Similar designs exist in Norse culture, and as far as China.While there
are many Celtic symbol guides available, especially those that list every variation
of celtic knot, many of the purported meanings of the symbols are usually simply
made up (most often to sell trinkets and jewelry).
There are no known authentic knotwork designs meaning love or loyalty or
sisterhood or an of the other common meanings ascribed to the

designs.
While many of the ancient designs certainly had some
spiritually significant meaning, these have largely been lost to the ages, and can
only be guessed at. The continual looping of the designs suggests themes of
eternity and interconnectedness, and knots may have been made at one time to
foil evil spirits.
Interwoven figures of people and animals may have represented the
interdependent nature of life-two or more knots laced together symbolize lovers,
hunters and their prey, God and man, etc. Some knots were used as magical
talismans for protection. The more modern designs, such as those found in
decorated Christian scriptures, were mainly decorative designs used for
ornamentation. Other relatively modern designs include linked hearts and other

love knots, Christian crosses, harps, shamrocks, and other folk symbols, and so
on.

The Celts themselves left very little in the way of records, and
most symbols are interpreted by archaeologists and other scholars who study the
symbols in context. Some ancient Celtic symbols have changed in meaning over
time, having been influenced by the introduction of Christianity and the influence
of other cultures. A general rule of thumb is: the shape of the design often
determines the meaning of a knotwork design- triskele and trefoil shapes
should be regarded as triskeles, bird, fish, and animal designs represent the
attributes of the animal, etc. Circles represent unity or eternity, spirals
reincarnation or cycles of life and rebirth, triangles and trefoils the threefold
dominions of earth, sea, and sky. Squares or four-fold shapes are shield knots,
symbols of protection from spirits or malevolent influence. Interlaced animals
and men usually represent relationships, or emphasize the interdependence of
mankind and nature.
To see a Gallery of Celtic Knots, Click here.
Important note on Celtic symbols: There are no authentic Celtic symbols for
brothers, sisters, family, motherhood, etc. The ancient Celts simply didnt think in
these terms. If you are looking for something along these lines for a tattoo or
similar, you are best off adapting a pre-existing symbol than looking for
something genuine which doesnt exist, or worse, accepting a bill of goods
from a less than ethical artist, of which there are plenty.

Triskele (Triple Spiral, Triskelion)

The triskele, or triple spiral, a symbol closely related to the triquetra,

is a tripartite symbol composed of three interlockedspirals.
The triple spiral is an ancient Celtic symbol related to the sun, afterlife and
reincarnation. The example above comes from the Neolithic tomb at
Newgrange, where it is supposed by some to be a symbol of pregnancy (the sun
describes a spiral in its movements every three months; a triple spiral represents
nine months), an idea reinforced by the womb like nature of the structure. The
symbol also suggests reincarnation- it is drawn in one continuous line,
suggesting a continuous movement of time.

Triskeles are one of the most common elements of Celtic art; they are found in a
variety of styles in both ancient and modern Celtic art, especially in relation to
depictions of the Mother Goddess. They also evoke the Celtic concept of the
domains of material existence- earth, water, and sky, and their interrelations.

Solar Cross (Odins Cross, Sun Cross, Wheel of Taranis)

The Solar cross is probably the oldest religious symbol in the world,
appearing in Asian, American, European, and Indian religious art from the dawn
of history. Composed of a equal armed cross within a circle, it represents the
solar calendar- the movements of the sun, marked by the solstices. Sometimes
the equinoxes are marked as well, giving an eight armed wheel. The swastika is
also a form of Solar cross.
The sun cross in its most simplified form (shown above) is known in Northern
Europe as Odins cross, after the Chief God of the Norse pantheon. It is often
used as an emblem by Asatruar, followers of the Norse religion. The word cross
itself comes from the Old Norse word for this symbol: kros.
The Celtic cross is a symbol of the Celtic Christian Church, borrowed from the
pre-Christian Celtic Pagan emblem of the sun God Taranis:

A similar symbol is the emblem of the ancient Assyrian God Shamash:

The Lauburu (four heads), a traditional Basque emblem, is also a form of solar cross:

The lauburus origin is unclear, although it is undeniably a solar emblem.

In recent times, it most often used as a charm for good luck and protection, and an emblem of
Basque pride.

The Etruscan God Ixion was often depicted crucified on a solar wheel
(note the similarity to the Chi-Ro cross):

The Aztec solar deity Quetzalcoatl, depicted crucified on an equal armed cross:

Pictish Symbols and their Meaning

The Picts were a tribal people who lived in Northern Britain and Scotland until
about a thousand years ago. Their language has been lost, except for fragments,
although they left behind a wealth of picture stones, large monoliths carved
with mysterious symbols whose meanings are mostly unknown.
There are about fifty major Pictish picture-symbols. Some are easily identified as
animals or mythical creatures; others are completely mysterious, such as the
crescent and V-rod and the double disk emblems. They may have originated
as tattoos or amulets. After the fifth century, most Picts converted to Christianity,
and most of their carvings reflect this change; many of the so-called Celtic
crosses dotting England and Scotland are in fact Pictish stones.Below, you can
view some of the more common Pictish signs.

Animals
Pictish animal signs may have been related to Gods and Goddesses, and
included typical Celtic themes of boars, salmon, wolves, and birds:

For insight into the meanings of the animals, see: Celtic animal symbols
Mythical creatures
Some of the most famous Pictish carvings are of monsters, mermaids, and other
sea creatures:

Water Centa
Merm
Dragon
Horse ur
aid
Enigmatic Symbols
Most unusual, and most identifiably Pictish are the enigmatic symbols known as
the V-rod, Z-rod, and double disks, all named for their unusual shapes. The
V-rod appears to be a bent arrow superimposed on a crescent; it is assumed to
be a symbol of death:

The so-called z-rod is found in combination with a serpent, a tomb/doorway, or a

double-sun (double disk), all possibly symbols of the solar cycle and the afterlife:

Mirrors
Another object commonly inscribed on Pictish stones is the mirror, often paired
with a comb. The comb and mirror are symbols of female wealth and prestige,
and usually denote a womans memorial, although they are also heavily
associated with mermaids:

To view some examples pf Pictish symbols, see the Pictish Stones Gallery.

Stone with carvings of Fred Sandys, image of Morgan le Fey with

V-rod and fantasy
Pict emblems, perhaps to underscore her
creature
relation to the goddess Morrigan.

Druid Symbols
Arguably, most early Celtic symbols could also be referred to as Druid
symbols In this section, however, we will describe those most commonly
associated with the various branches of modern Druidry. These can be divided
into two main areas: ancient Celtic symbols associated with Druids, and recently
created emblems of modern Druid organizations. Some of the more well known
symbols associated with Druidry include:
The Wreath and Staves, or Druidic sigil:

The so-called Druid sigil is the identifying symbol of one of the earliest Druid
reconstruction organizations, Reformed Druids of North America. It is strictly a
modern symbol, having no root in historic Druidry. It originated in the sixties, but
the inspiration behind the design is unknown- the most likely origin is from
heraldic designs, which often featured wreaths of oak leaves. The Awen, or
rays, is a glyph with three vertical lines or rays of light converging at the top:

The Awen is a not genuine symbol of ancient Druidry, but associated with several
modern groups. The word Awen in the Gaelic language means means
inspiration, or essence, and refers to to poetic inspiration (traditional) or
spiritual illumination (modern). The three parts of the Awen symbol represent the
harmony of opposites- the left and right rays symbolizing female and male
energy; the center bar their harmonious balance (somewhat akin to the Taoist
yin-yang symbol). The symbol is referred to as the Bardic symbol in Charlotte
Guests translation of the Mabinogion, a collection of traditional Welsh Arthurian
tales, where it is said to represent the entirety of the Celtic Ogham alphabet as
discovered by the Welsh hero Menw.
In reality, the emblem was probably conceived by the eighteenth century poet
Iolo Morganwg, and reproduced in his book of purported Druidic philosophy,
which was later discovered to be spurious. An actual, recognizable symbol in
ancient Druidry was the Sun wheel, or Wheel of Taranis, a Celtic sun/thunder
God.
The sun wheel has six or eight spokes, patterned after the wheel of a wagon:

The wheel is identical to other solar wheels and represents thesolar

calendar, with points marking the position of the sun at the equinoxes and
Solstices. The solar cross and Celtic cross motifs are derived from this
symbol. The most recognizable symbol of modern Druidry is the Tree of Life, with
branches and roots entwined. It is a motif common in Celtic art from pagan
times, and adopted as well for Christian use, often identical with the biblical tree
of life:

The world tree, like its Norse counterpart, represents man- the
branches symbolize the cosmos, the roots the underworld, the tree their union in
mankind. The Tree of Life is depicted in various ways, but most often as
symmetrical vines emanating from a pot, or as a tall pillar of entwined
branches. You can read more about the Celtic Tree, or about the Universal Tree of
Life.

Brides Cross (Brighids Cross)

Usually known as Brides Cross, this equal-armed

cross is traditionally woven from straw in honor of Irelands Saint Bridget (Also
known as: Bride, Brighid, Brigid) on her holiday, Candlemas, observed on the
second of February.
There is a very strong likelihood that there never was such a personage as St.
Bridget, and that she may have been a cover for worship of the Celtic Goddess of
the same name.
The cross itself is a type of solar cross, and both the symbol and the woven
representation probably predate Christianity in Ireland. Another clue to the
identity of Brighid lies in the timing of her holiday, formerly Imbolc (In milk),
the Celtic observation of the coming of spring with the lactation of the ewes, and
sacred to the goddess as protector of livestock.
Welsh Dragon (Y Ddraig Goch- The Red Dragon)

The ubiquitous Welsh Dragon at left is the national symbol of

Wales. This particular image appears on the flag of Wales and is derived from an
ancient standard of the Tudor family, which is in turn derived from the Draco
standard of the Roman Legion.
Although attempts have been made to link the dragon with Arthurian tales of
Merlin and his prophetic vision of battling dragons- red for Wales and white for
England- the emblem has been in use in Wales for at least twelve hundred years.
Celtic Cross (Ionic Cross, Cross of St Columba)

The Celtic Cross (Ionic cross) has its roots in a pre-Christian

variation of the Solar cross. Examples of the Celtic cross date back as far as 5000
years BCE. The origin of the Celtic cross are not clear, but it was known to be an

early symbol of the Gallic sun god Taranis. After the conversion of the Celtic
people to Christianity, the Celtic Cross became an emblem of the Celtic Christian
Church. Irish legend holds that the cross was introduced to Ireland by St.
Columba, so it is sometimes referred to as Columbas cross, or the Ionic cross,
after his monastery on the isle of Iona.

Irish stone Cross

Celtic god Taranis with

solar Wheel

Spiral

The spiral is probably the oldest known symbol of human spirituality.

The spiral has been in rock carvings thousands of years old, on every continent
in the world. The religious significance can only be guessed at, but it has been
found on tombs, and almost certainly has a connection with the sun, which
traces a spiral shape every three months in its travels. The double spiral found in
neolithic Celtic stone art also follows the path of the sun, describing the
movements of the heavenly body over the course of a solar year.
A triple spiral motif found on Celtic tombs is drawn unicursally (that is, in one
continuous line), suggesting a cycle of rebirth or resurrection. (this hypothesis is
bolstered by the fact that many of these appear to be deliberately placed where
they catch the first rays of the sun on the solstice). The sun, dying and rising
every day, is a natural symbol of rebirth, and the triple spiral gives an obvious
connection between the solar symbolism and the nine months of human
gestation. In modern times, the spiral is still spiritually significant. The spiral is
the symbol of spirit in Wicca, an emblem of the Goddess.
Shamrock (Trefoil, Cloverleaf)

The Shamrock is the ubiquitous symbol of all things Irish. Although

today it is usually regarded as a simple good luck charm or a St. Patricks day
decoration, it is one of the oldest Celtic symbols.
The shamrock is a native species of clover in Ireland. A Catholic legend holds
that St. Patrick used its three lobes as a device for teaching the Holy trinity. To
the Druids who came before, it symbolized a similar three in one concept- the
three dominions of earth, sky, and sea, the ages of man, and the phases of the
moon. In Celtic folklore, the Shamrock is a charm against evil, a belief that has
carried over in the modern reliance in the four leafed clover as a good luck
charm.
Ogham

The Celtic Ogham (pr: Oh-yam) alphabet dates from the fourth
century. The alphabet is named for Ogmos, the Celtic god of knowledge and
communication. Ogmos was associated with the Gaulish god Ogmios, and the
Greek Hermes.
The ogham alphabet has twenty letters, each named for a different tree sacred
to the Celtic Druids. Each letter is made up of one to five straight or angled lines
incised on a straight base line. Because the number of letters, and the number of
lines that make up each letter, some scholars have theorized that the ogham
may have originated as a system of hand signs, likely a system of
communication used by the Bard class.
Examples of Ogham writing have been found all over the British Isles, and even
as far away as Spain and Portugal. All surviving examples exist as stone
carvings, usually on tombstones and road markers. Although it is commonly used
by modern Druids and other NeoPagans as a divination system, there is no real
relationship between modern and historical divination systems.
When used as a divination method, the letters are usually notched into straight
twigs and used much like runes. To see the entire Ogham alphabet and download
a set of Ogham cards, see: The Celtic Oracular Alphabet

Four Evangelists (Tetramorphs)

The tetramorphs (Greek, four forms) were four angelic beings,

drawn from much earlier Babylonian symbolism, described in a vision of the
Hebrew Prophet Ezekiel:
As for the likeness of their faces, they four had the face of a man, and the face
of a lion, on the right side: and they four had the face of an ox on the left side;
they four also had the face of an eagle
The beasts are later described in the Revelation of John: And the first beast was
like a lion, and the second beast like a calf, and the third beast had a face as a
man, and the fourth beast was like a flying eagle.
The four faces thus described were Babylonian symbols representing the four
fixed signs of the zodiac- the Ox, representing the sign of Taurus, the lion the
sign of Leo, the Eagle of the sign of Scorpio, and the man, symbol of the sign of
Aquarius. The four likewise symbolize the four ancient elements of air, water,
earth, and fire. Christians applied this symbolism to the four evangelists, the
apostles so-called because they are the reputed authors of the four gospels
bearing their names. The astrological symbolism was not lost on these early
Christians, as the four zodiac signs form a cross, in the center of which Christ is
often depicted.
Today, much of the earlier, transcendent celestial symbolism is eschewed in
favor of representative symbolism, wherein each evangelist is said to represent a
portion of Christs life and sacrifice. For example, that the gospel of Mark
discusses Christs royalty, therefore Mark is symbolized as a lion- or that John is
portrayed as an eagle because he is caught up in the spirit or has spiritually
soared. These explanations appear to be contrived in later times to avoid
associations with astrology, which is now typically considered occult.

An image of Luke the Evangelist from the Book of Kells, an ancient

illuminated manuscript produced more than a thousand years ago in

Ireland and considered one of the finest examples of illuminated art.

The lion of Mark

Claddagh

The Irish Claddagh Symbol is named for the Irish coastal

town of Claddagh (pronounced clawh-dah), where the ring design is attributed
to an ancient local legend. The now famous tale, about a townsman kidnapped
into slavery, who returns to present a ring to his true love, is one of the most
popular romantic tales of Ireland. Despite the romantic story, Claddagh rings are
a traditional token of loyalty and friendship as well as romantic love.
The Claddagh design usually appears on rings, but is now used on all sorts of
items, from jewelry to napkins to family crests. The hands in the design
represent friendship, the heart, love, and the crown, loyalty. Various traditions
ascribe different meanings to the ring, depending on how it is worn- as a
wedding ring, it is worn on the left hand, with the heart pointed inward. As an
engagement ring, it is worn on the right hand, with the heart pointing inward; for
friendship, it is worn on the right hand, heart turned outward.
There is probably some relation between the claddagh and Norse fede
(engagement/betrothal) rings, which sometimes depicted hands clasped around
a heart.
Celtic Cauldron (Cauldron of Cerridwen, Cauldron of Plenty)

The cauldron was an important artifact in Celtic daily life, where it

served as the hub of the home. It was used for most household cooking, as well
as for bathing and carrying water, and was the finest object owned by most

households. The cauldron was likewise central in Celtic religious practice, where
it was used for divination and sacrificial rituals. The cauldron was an emblem of
the domain of water, and beautifully designed cauldrons were frequently
sacrificed to the gods of lakes and rivers. The ocean itself was at times conceived
as a great cauldron.

Im Dagda* resurrects warriors

It was from a great cauldron in the Otherworld that poetic and artistic inspiration
was given, and themeasure each man received depended on how much his life
and actions caused the cauldron to flow. The welsh goddess Cerridwen owned a
great cauldron, from which the bard Taliesin illicitly obtained his legendary
talents as a bard. To the ancient Gauls, cauldron was closely linked with the god
Taranis; sacrifices made to the god by Druid priests were purportedly drowned in
a cauldron, possibly with the belief that the victim would be reborn. Many Celtic
legends tell of a cauldron from which slain warriors could be resurrected.
The Dagdas great Cauldron of Plenty was one of the four legendary treasures of
Ireland, a magical object that provided an endless supply of tasty food and drink
to the worthy. The cauldron of the Otherworld is at the center of the earliest
Arthurian tales, where it retains its powers, but is claimed to be the cup of
Christ. As a symbol of Celtic identity, the cauldron continued to capture the
imagination of the Celts even in Christian times, although its powers were usually
transferred to the Cup of Christ. Many beautiful chalices were created for
Eucharistic use in Celtic churches, and remain some of the finest examples of
such work in the world. Eventually, the cauldron and chalice of Christ merged
into one symbol, and became synonymous with the mythical Holy Grail.
*In all likelihood. From the Gundestrup cauldron.
The Golden Bough: Mistletoe History and Lore

Mistletoes (Old English, Misseltan, meaning, missel

twig) standing as an icon of the winter holiday stems from very ancient beliefs.
How did this rather ugly, poisonous plant became so popular?
The answer lies in ancient sun worship, particularly of the Celtic Druids. The
mistletoe has several qualities that made it attractive to these tree revering
ancient Celts. The Celtic Druids were skilled in herbal medicine and magic;
mistletoe was by far the most sacred of their magical plants. It grew amongst the
branches of the sacred trees, seemingly without sustenance. Having no roots,
and thus no connection to the earth, it was considered the sacred plant of the
sun.
A tree that hosted a mistletoe plant was a tree marked as particularly sacred by
the gods. With its golden color, and growing high off the ground without roots, it
was naturally associated with the sun. Most specifically, it was considered to be
the sperm of the solar deity Taranis, the promise of the sun Gods rebirth.
It was believed that mistletoe took on the properties of its host tree (this has
much truth to it, as mistletoe feeds on its host tree), containing its essence and
power. The most powerful mistletoe, of course, grew on the sacred oak. (The
name Druid is believed to be a compound of two words, Dru and Vid, strength
and wisdom- oak and mistletoe!)
Old Norse tales of mistletoes origin blame the plant for the death of the sun-god
Baldur, who is felled by a dart made of mistletoe, the only plant his mother
neglected after a prophecy of the gods death; some versions of the story tell
that the plant became a tree-dweller after the wrathful goddess flung it

there.

Cutting the Mistletoe at the Solstice

When the weather turned cold the leaves dropped from deciduous host trees,
revealing the sacred leaves and waxy white berries- a promise of the return of
the sun. During the period of the Winter Solstice, branches were harvested with
great ceremony and used for a variety of magical and medical purposesprotection from lightning and fire, curing of poisoning, etc. Branches would be
cut from the trees on a day sacred to the moon, and sacrifices of livestock
offered in return for the precious gift. Belief in the magical powers of mistletoe
has long outlived the Druids.
In medieval times, the plant was called allheal, and used medicinally for a variety
of ailments, from epilepsy to cancer. Sprigs were hung in stables to protect
livestock from the mischief of fairies, and over cradles to protect babes from the
vexation of witches. In Scandinavia, its branches were fashioned into dowsing
rods to search for treasure. An old English superstition held that as long as a
sprig was retained in the home, so would love be retained. It became popular in
some households to insure that a fresh sprig was installed in the household every
year, and this is probably where the origin of the kissing ritual can be found.

A priestess with sickle and crown of mistletoe

The uniquely English tradition involved hanging clumps of the plant in halls and
doorways, where it served as a bit of a love charm- and as an ice breaker
between interested couples. As the superstition went, one who wasnt kissed
would not be married within that year- an incentive for the romantically inclined
to be sure to find themselves underneath a sprig at a convenient moment.
According to this same tradition, the plant was burned at the end of the season,
to prevent the charm from backfiring and creating enemies rather than
friends.As late as the early twentieth century, a sprig of mistletoe was believed
to bring dreams of a future husband when placed under the pillow of a hopeful
young woman.

Celtic Animal Symbols: Boar

Wild boars are fearsome, dangerous animals, yet prized for

their meat, a favorite game animal of the Celts. The boar is an emblem of
fertility, fearlessness, and strength, but also stubbornness, war, and chaos. As
the meat of the boar is prized, it is also a symbol of hospitality. Any function of
importance would include a feast with boar meat (Nothing says youre an
honored guest like a tusk-wound!) as a central offering, and roasted boar meat
(the remains thereof, at least) is a frequent find in the burial-places of tribal
chieftains.
Serving boar meat not only demonstrated the honored position of a guest; it
proved the skill and hunting prowess of the host. The boar figures heavily in tales
of the Otherworld, often in the guise of a trickster figure, full of cunning and
mischief. In mythological tales, the boar is often directly or indirectly involved in
the death of the hero. The boar is a companion of the Celtic Diana and a frequent
participant in the wild hunt, an otherworldly procession of faeries and ghosts.
Otherworld pigs are usually enchanted, most often, they are involuntarily
transformed as punishment for evil doings in human form.

Pictish carving

The Celts carnyx, or battle-trumpet, often took the

shape of a boars head.

The earliest tale in which King Arthur appears is the Welsh story of Twrch Trwyth,
a transformed king who embarks on a destructive rampage; the hero Culwch, a
cousin of Arthur, must obtain a magical comb and scissors from the boar in order
to marry the daughter of a giant.

Celtic Animal Symbols: Dragons and Serpents

The Celtic dragon and serpent were ancient symbols of fertility,

wisdom, and immortality. A hybrid horned dragon/snake figure was connected to
the torque collar, a symbol of kingship and status, and to the horned deity
Cernunnos. The serpent was related to the dragon, and was connected with
healing pools and springs. The Romans observed that the Druids especially
revered the serpent for healing, and that they ascribed the same powers to the
serpents egg, a particular sort of egg-shaped stone. A number of old tales
feature magical treasure-guarding serpents who reside in wells- a common motif
is the horned snake who guards a golden torque, a reference to divine authority.
The dragon represents the untamed forces of nature, and often dwelt deep
within the earth or sea. A red protector dragon has been a symbol of Wales for
more than a thousand years, and dragons of various sorts featured heavily in
late heroic tales, especially those of the exploits of Merlin. After the advent of
Christianity, the dragon was more likely to symbolize chaos, and many tales of
the saints pit the holy men against rampaging dragons who cause natural
disasters, stories in which the dragons are not too subtle analogies of the pagan
religions- Christians who came to evangelize the Druids took the sacred serpents
as sure signs that the Druids were devil worshipers.

Pictish carving

Serpent capital from the Book of Kells

One of the best known tales of St Patrick is the driving of the serpents from
Ireland, a myth that purports to explain Irelands lack of snakes, but also carries
overtones of religious conflict. If one views the snakes as the emblems of the
Druids, the tale takes on another level of meaning, namely, that the serpents are
not animals, but the Pagan way of life. This interpretation is borne out by many
other references to battles with dragons or serpents undertaken by the saints,
which invariably occur on sites formerly sacred to the Druids. This is not to say
such battles necessarily took place at all, but may be poetic license to deal with
the embarrassing reality of many a church sited on former Pagan holy grounds,
which may have mattered much more as the centuries passed. MoreCeltic
Symbols

Celtic Animal Symbols: Bull

The bull was an important part of Druid sacrificial rituals, especially
those of a prophetic nature. The bull was the emblem of the mysterious god Esus
(Lord)- monuments to the god are frequently inscribed with the Tarvos
Trigaranus,(Latin, bull with three cranes) an image of a bull or bulls head with
three cranes either perched atop his back or in the branches of a nearby tree.
The theft of the bull Donn Cualnge is central to the best know Celtic mythological
tale, the Tain bo Cualnge, or Cattle raid of Cooley, wherein a prize bull is
warred over.

Dying bull from the bottom panel of the Gundestrup

cauldron.

Tarvus Trigaranus

To the Celts, as everywhere, the bull was a symbol of fertility, wealth, and status.
The bull likewise symbolizes ties to the land, ancestry, and kinship. A good bull
was a conspicuous sign of wealth in a culture that revolved around cattle
husbandry; the prestige of a clans bull was closely linked to that of its king, and
to the prosperity of its people.
Celtic Animal Symbols: Deer, Stag

The deer was arguably the most important animal to the early
Celts. Before agriculture or animal husbandry; venison was a staple food. Some
of the oldest surviving examples of pre-Celtic Neolithic art depicts shape-shifting
shamans in the form of deer, who may prefigure the shape-shifting gods and
heroes of Celtic legend, as well as Cernunnos, the stag-horned deity of healing
and plenty.

Carved stone cross from the Isle of Mann

The mythological Warrior-Bard Oisin was the son of a deer, and could himself
take the form of a stag. The stag of seven tines referenced in the opening lines
of the Song of Amergin likely references images of Cernunnos, who is often
portrayed with seven-tined antlers. Even the Christian Saints were purported to
possess shape-shifting ability. St. Patricks Deers cry was a prayer that was
said to give the saint the appearance of a fawn to his enemies.

Celtic Animal Symbols: Birds

The Raven
Because of their dark coloring and gruesome dietary
habits, ravens were emblems war and death, and sacred to the gods and
goddesses of the battlefield, most notably the warrior-god Bran and the wargoddess Morrigan. The raven acted as psychopomp, tasked with escorting the
souls of the dead into the Otherworld. The ravens were sometimes viewed as the
reincarnation of slain warriors and heroes.
Due to their close relationship with the gods, ravens were used for divinatory
purposes and considered quite literally as the voices of the gods- the Otherworld
deities Lugh and Midir are both accompanied by pairs of magical ravens. (This
symbolism is echoed in Norse mythology, where the raven is the messenger of
the father-god Odin) Images of three interlinked ravens are emblems of the
triple goddesses of sovereignty, particularly the Morrigan.

Unknown deity with raven,

Isle of Mann

The raven was closely associated with the cult of the horse, and with the triplegoddesses of sovereignty. As Badb Catha, battle-crow, the raven was one of
the three aspects of the war goddess Morrigan. Ravens often appear as evil
omens on mythological tales, especially when appearing in threes or from the
sea.
The Swan
The swan was revered by the earliest Celts who associated them with the sun,
bearers of the chariot of the sun god. Numerous Celtic legends involve magical
maidens who transform into swans; these are identifiable through the magical
chains of precious metal they wear. Perhaps the most famous Celtic swan-tale is
of the children of Lir , the Irish sea-god, whose children are magically
transformed into swans by their jealous stepmother. Many Celtic goddesses
could likewise shape-shift into swan form;the swan was the sacred bird of Angus,
the Irish god of love.

The crane was sacred to early Celts, who left behind many votive
images of the bird. Manannan Mac Lir, the Irish god of the sea, who had a
magical bag made from the the skin of a crane who was his lover magically
transformed. The underworld god Midir owned three cranes to guard his home,
and to see three cranes is an omen of death. The crane was also an emblem of
envy, and Irish legend has many stories of women transformed into cranes by

rivals. The crane also features in Christian legends, where transformation into a
crane is a common punishment for disrespecting a saint or as pe

Celtic Animal Symbols: Horse

The horse has a long history with the Celtic people, and at times
was a deity unto itself-perhaps even the first Celtic deity. Horses were associated
by the Gauls with several gods and goddesses, and were emblems of the sun.
The horse was a tremendously important animal to the Celtic tribes, and its
domestication transformed the Celtic culture Horses were used for meat and milk
and provided labor for farming and transportation, making for huge advances in
hunting and war-making. The horse was so important to the Celts it was
associated with the sun god, who often appeared as a horse with a human face.
The horse is also linked to a number of ancient war goddesses Perhaps the bestknown horse deity of the Celts was the Goddess Epona (Gaulish, mare), the
horse-mother, a favorite goddess of warriors who was so popular, she had the
singular honor of becoming the only Celtic goddess worshiped within the borders
of Rome.

Teutates

Entwined water horses, from a Pictish

carving

The father-god Teutates often appears in art as a bearded horse, and one of the
names of Im Dagda, Eochaid, means horse or horse-father. The triple war
goddesses associated with sovereignty and kingship were closely associated with

horses (as well as ravens), and the divinatory king-making ritual of the Druids
involved a prophetic sleep sewn inside the skin of a sacrificial mare.
The tragic goddess Macha had shapeshifting ability, and one of her three aspects
appears to have been a horse. The wife of Otherworld god Midir is Etain, whose
aspect was originally equine.The Welsh worshipped a goddess similar to Epona,
called Rhiannon, who could appear as a horse, and is the mother of Peredur, who
became a legendary rider in Welsh tales (and later, a knight of the Round table.)
Horses also figure in Irish and Scottish fairy lore. Most notable is the Puka or
Pooka horse, a dangerous fairy-creature who lures unwary travelers to their
death. Another is the water-horse, a sort of mer-creature associated with the sea
god Manannan Mac Lir.

Celtic Animal Symbols: Hound, Wolf, Dog

In Celtic myth tales, hounds are emblematic of courage, extreme

loyalty, and honor. Hounds were prized as companions of the hunt and travelers
between worlds. Dogs were closely associated with healing.
Gallic gods of healing springs had sacred dogs, and votive offerings to these
gods often portrayed dogs and their owners.
Hounds, invariably magical, were the constant companions of many Celtic
heroes. Irish Filidh (seers) chewed the meat of a dog in a ritual to gain prophetic
vision. To be called hound was an honorable nickname for a courageous
warrior; the name of the god Cuchulain is literally Hound of Culann; violating a
geas (sacred taboo) on the eating of dogflesh leads to the heros death. The
mother of the god Lugh, in whose honor the Lughnassa festival was celebrated,
was killed while in the form of a small dog.

Capital from the Book of Kells in the form

of a dog

Wolves were likewise benign, often appearing as helpers or guides. Wolves were
companion to the forest-deity Cernunnos, and appear on the famed Gundestrup

cauldron. The Irish king Cormac claimed to have been suckled by wolves, and it
was not unknown for entire tribes of Celts to claim descent from wolf-packs. The
pack behavior of dogs and wolves was likely viewed as analogous to human
tribes; portraits of the ancient mother goddesses often depict dogs suckling
beside human infants.

Salmon of Wisdom (Fionn Salmon)

Salmon figure prominently in Celtic mythological tales, and are

primarily associated with wisdom and prophecy. They often inhabited the sacred
wells, feeding on the fruits (often, hazelnuts) of the tree of life. One such salmon
features prominently in the story of the legendary Celtic hero, Fionn mac
Cumhaill (Finn MacCool). Fionn is the apprentice of the Druid Finneigeas, who has
captured the salmon of wisdom and leaves Fionn to tend the fire as the fish
cooks.
When Fionn helpfully attempts to pop a blister developing on the roasting fish, he
burns his thumb. Sucking on the burnt finger steals the Druids prize- the
salmons wisdom is transferred to the hero, who can recall its powers by sucking
his thumb. In a similar story, the goddess Boann attempts to draw water from
the Salmons well, which results in flooding; the well becomes the source of the
river Boyne, named fro the godess whose accident caused it.
The salmon also figures in Welsh versions of the tale of King Arthur. In an echo of
older Celtic myths, the hero Culhwch is carried on the back of a magical
salmon. The fish as symbol of wisdom in Celtic art persisted with the coming of
Christianity; the association of Jesus with the fish was just one of many
coincidences that made Christianity a relatively easy sell in the Celtic isles.

A Pictish stonecarving featuring a

salmon

Wiccan Symbols
Hecates wheel (Strophalos of Hekate)

The Strophalos, or Hecates wheel is an ancient Greek symbol,

and is an emblem of the initiatory lunar Goddess Hecate (Diana Lucifera), and
her triple aspect. Only one ancient source remains to shed any light on the
emblems meaning.
The second century Alexandrian text known as the Chaldean oracle describes the
emblem as a labyrinthine serpent (emblematic of rebirth) surrounding a spiral,
symbolic of the Iynges- whirlings or emanations of divine thought. Today, it is
generally used by practitioners of Hellenic Recon or Dianic Traditions of Wicca as
an emblem of religious identification. Other emblems of Hecate include torches,
dogs (generally female), keys, serpents, and of course, the crossroads.

Pentagram (pentacle, pentangle, pentalpha)

The pentagram is a five pointed star commonly associated

with Wicca, Ritual magick, Satanism, and Masonry. The Pentagram has a long
and complex history as a religious symbol. Found scrawled in caves of ancient
Babylonia, the five pointed star was copied from the star shaped pattern formed
by the travels of the planet Venus in the sky.
The emblem remained popular through many cultures and time periods- it was
called the pentalpha by the Greeks, who believed it had magical properties.
For a time, a pentagram was the official seal of the city of Jerusalem:

In later times, it was used by medieval Christians to symbolize the five wounds of
Christ, and figured in the heavily symbolic Arthurian romances. In medieval
times, the pentagram represented the proportions of the human body.
Through the Middle Ages and Renaissance, the pentagram was commonly used
(ironically) as a charm against witches and demons. (like other protective knots,
it was considered effective only if drawn perfectly)
It was not until the twentieth century that the pentagram became associated
with Satanism, probably due to misinterpretation of symbols used by ceremonial
magicians.
In alchemical texts, the four elements (in Latin)- flatus, ignus, aqua, terra,
superseded by light, or divine energy- illustrated the process of creation, and the
biblical motto Fiat Lux, or, let there be light.
In Wiccan/Pagan lore, the pentagram symbolizes the five elements- earth, air,
water, fire, and spirit. The Wiccan emblematic pentagram faces point upward to
symbolize the triumph of spirit over matter; the Satanic pentagram is
transposed, point downwards, to symbolize earthly gratification, or the triumph
of the individual over dissolution. Some Wiccan initiatory grades also utilize a
reversed pentacle, although for different purposes.

A pentacle used for ritual purposes in Gardnerian Wicca

A pentagram enclosed within a circle is known as a pentacle, although
pentacles do not always contain pentagrams.
Theban Alphabet (Wiccan alphabet, Witches Runes)

The Theban alphabet is used almost exclusively by Wiccans as

a substitution cipher to protect magical writings from prying eyes. It originated
as a magical alphabet; the exact origin of the text is unknown. The Theban
alphabet first appeared in print in Henry Cornelius Agrippas Third book of Occult
Philosophy in 1531, where it was ascribed to the legendary magus Honorius of
Thebes.
This alphabet is occasionally referred to as the Runes of Honorius, although
Theban is not a runic alphabet. While it resembles some ancient alphabets, it is
unknown before Agrippas publication. It is little used as a magical alphabet,
except as an occasional substitute for Anglo-Saxon runes, or for making charms
and amulets. Theban was introduced to Wicca by its founder, Gerald Gardner. To
use Theban as a cipher, simply substitute Theban letters for English letters as
shown below:

Dearinth

The Dearinth symbol was designed by Oberon Zell (Then known

as Otter Zell) as an emblem to represent his Church of All Worlds, a Neopagan
religious group based on the spiritual themes in Robert Heinleins novel Stranger

in a Strange Land.The symbol is based on ancient labyrinth designs, and

incorporates the images of the Wiccan/Neopagan Goddess and the Horned God.
The nine concentric rings symbolize the nine levels of initiation in the Church.

Athame

In Ritual Magick and Wiccan traditions, an athame is a consecrated

ceremonial knife symbolizing the element of air or fire, depending on the
symbolism of the tradition. The athame itself is a very old idea, a tool
represented in many old magical grimoires and witch-hunters manuals.
The traditional Wiccan athame is a double bladed knife with a black handle,
although modern Wiccan athames display a wide variety shapes, colors, and
decoration. More about the Tools of Magick

Athame from Reginald Scots Discoverie of

Witchcraft, 1584
Pronunciation: ah-thah-may (noun)
Elven Star (Seven pointed star, Septagram, Heptagram, Fairy Star)

The septagram is a continuously drawn figure having seven

points. It is a less common religious symbol than the pentagram, but it is a
sacred symbol to Wiccans who follow the Faery tradition, where it is called the
Elven or Fairy star.
The septagram is important in Western kabbalah, where it symbolizes the sphere
of Netzach, the seven planets, the seven alchemical metals, and the seven days
of the week.

The seven pointed star is an important part of the seal of the A.A., the inner
order of the OTO, the secret society made famous by Aleister Crowley:

Mano Cornuto (Horned Hand)

Mano Cornuto means horned hand in Italian; the gesture is

commonly depicted on charms against the evil eye. It is unclear whether the
gesture originated as an image of horns or as a poking out the eyes gesture
(against the malocchio or evil eye), but ancient lunar goddess charms
depicting animal horns were used for similar protective purposes and are
probably related to the gesture.
The use of the horns as a symbol of satanic belief is recent, and is evolved from
its use by heavy metal musicians and fans. (A good discussion of the use of the
horned hand gesture in rock can be found here.) The horned Hand gesture is also
used occasionally by Wiccans as a symbol of the horned God or as the horns of
the Moon Goddess, depending on tradition.

Moon (alchemical silver, argentum)

The traditional astrological glyph for the moon, and one of the alchemical
symbols for silver.
In the Hermetic sciences, the moon represented the feminine, liquid, passive
principle- alchemical Mercury. The hieros gamos, or divine marriage, is the

combining of the solar and lunar principals to form the divine androgyne- the
highest form of spiritual attainment.
The metal silver is second in value only to gold. From Roman times onward,
silver was purported to repel or even kill demons. This belief carried into the
Middle Ages, where it was believed demons, witches, and other evil creatures
could be killed with silver bolts or bullets. This is also the origination of the
vampire trope whereby the creatures cannot be reflected in mirrors- being a pure
metal, silver objects and silver-backed mirrors could not reflect impurity.

A Wiccan moon-symbol of blessing

High Priestess of the tarot, with

lunar emblem representing the
unconscious

Corn Dolly
The corn dolly is an ancient harvest custom, still widely practiced throughout
Europe. In ancient Europe it was customary at harvest time to leave a small
portion of the grain in the field, often twisted or tied into the shape of a man or
the symbol of a god or goddess. Sometimes, it was even dressed in mens or
womens clothes, kept in a cradle, or hung atop a pole.
This bundle or effigy (immortalized in Burns ballad of John Barleycorn) was
believed to contain the essence of the spirit of the grains- a representation of the
solar deity who would be burned and reborn as the spring grain. At the end of
the season (usually at the winter solstice), the bundle would be ritually
sacrificed, burnt, or plowed under to ensure the years crops.

In later times, corn dollies evolved into a household tradition, with elaborate
symbolic figures crafted from straw, which were usually hung over doors or in
barns and burnt at Christmastime; sometimes small grain dolls were kept in
cradles or given pride of place in the home through the winter. Today the corn
dollie is little more than a craft tradition, with each region specializing with a
particular design.

Traditional corn dolly

Witchs Knot (Witchs Charm)

The Witchs knot is a common symbol in folk magic. The witchs

knot is a symbolic representation of the knot magic practiced by witches in the
middle ages, and was used as a sympathetic charm against witchcraft, and
usually scratched over doorways of homes and stables. One aspect of its efficacy
as a protective charm lay in the ability to draw the complicated symbol in one
continuous motion.
While the symbol appears to be made up of intertwined vesica pisces, it does not
represent feminine powers as is sometimes claimed, but the inversion of those
powers- the four radiating half circles symbolically reflect malefic
winds.Ironically, this is a popular emblem of choice for modern witches.
Cimaruta (Cima di Ruta, Sprig of Rue, Rue Amulet)

Cimaruta, in Italian, means Sprig of Rue, and the rue amulet

is one of Italys oldest cultural objects. The amulets, which are made of silver,
depict a rue sprig with various small symbols in its branches, most commonly
keys, crescent moons, daggers, stars, and flowers. The cimaruta of today is

evolved from ancient Etruscan amulets; historical uses are as protective charms
against malevolent magic, witchcraft, and the evil eye, especially for infants.
Ironically (perhaps intentionally so), the cimaruta has become associated with
Strega (an Italian/Roman flavor of Wicca), and so-called Italian Traditional
Witchcraft, which appears to be largely based on the works of Charles Geoffrey
Leland, a nineteenth century folklorist who penned several volumes on Italian
witchcraft, including Aradia (The Gospel of the Witches), purporting to be the
gospel of a secret Dianic Roman witchcraft tradition.

Cimaruta amulet

Mano Fico (Fig Gesture)

The Mano Fico (fig hand, properly, mano fica) is an ancient

obscene gesture, and is also one of the better known protective gestures against
the eye. The thumb and fist gesture is an ancient representation of sexual union.
The name is from the Italian word for the female vulva, fica,meaning fig (and
also the origin of a well-known English obscenity).
The fig was associated by the Romans with female fertility and eroticism; the
fruit was sacred to Bacchus. The gesture is used against the evil eye in the belief
that an obscenity serves as a distraction to evil, even that demons are so
repelled by the notion of sex and reproduction that they flee at the sign.

Symbols of Wicca and Neopaganism: An introduction

There are many symbols associated with Wicca and modern Neopagan belief
systems. Some of the most universal Neopagan symbols include: The pentacle,
a pentagram within a circle, is the most recognizable symbol of Wicca. In Wicca,
the pentacle represents the integration of body and spirit, and the spiritual
mastery of the four elements.
The pentacle is used in a number of Wiccan rituals, and as a Grade sign in
Gardnerian and other traditions. It is often worn as a symbol of recognition
amongst practitioners, especially those who practice a code of secrecy.

More pentacle history

Hidden pentacles are pentacles disguised within more intricate designs, and
may be worn when it is not safe or appropriate to wear a standard pentacle.
Many such stylized designs are worn which can be recognized by other believers,
but less apparent to outsiders. Sometimes called a flower pentacle, they have a
less occult look and are less likely to cause problems with non-pagan family or
in the workplace.

Disguised pentacles

For a thorough explanation of the history and meaning of this symbol throughout
history: Pentagram.

This is a stylized representation of the Horned God, who in the

Wiccan faith represents the masculine polarity of the universe. The horned god is

the archetypal horned Shaman, related to the ancient Gods of vegetation and the
hunt: Greek Pan, the Celtic Cernunnos, and the Egyptian Ammon.
This symbol is sometimes referred to as the horn moon, and as such, is also a
symbol of the Goddess Diana, especially in Dianic Wicca. Another Horned
God image, created from a pentacle, this one with a distinctive Pan goat
appearance:

This emblem has

largely fallen out of use
A similar-appearing symbol, drawn from Egyptian hieroglyphs, representing the
Cow Goddess Hathor, is sometimes used by Egyptian Recon or feminine
centered Pagans:

There are several styles of the Lunar Triple Goddess symbol, representing the
three aspects of the moon (waxing, waning, and full) and three ages of
womankind (mother, maiden, crone), as well as the Lady, or Goddess, the
feminine polarity of the universe:

The image below is of Cernunnos, an ancient Celtic horned deity who likely the
origin of the concept of the Wiccan Horned God, symbolizes the masculine power
of nature, especially the domain of forests and the animals that dwell in them:

More
onCernunnos
The familiar symbol below is a simplified silhouette of a paleolithic Egyptian
mother Goddess, probably a prototype of the Goddess Isis, and is often used to
symbolize the Lady, the feminine deity of Wicca:

The eight-pointed Wheel of the Year symbol marks the important holy days,
orSabbats, in the Wiccan Ritual calendar. It is derived from the sun wheel,
or solar cross, a pre-Christian European calendar marking the Solstices and
Equinoxes:

The so-called Witchs Sign is used in some traditions to mark ritual tools:

It is similar to the solar cross, but its exact origin is unknown (It is similar to the
Roman numeral thirteen, a reader suggests this may represent the coven of
thirteen members) Similar devices were used in the medieval period to mark
time. This emblem has largely fallen out of use.

Hecates wheel is an ancient Greek symbol, and is an emblem of the Moon

Goddess Hecate(Diana Lucifera), and her triple aspect. It is generally used by
practitioners of Hellenic Recon or Dianic Traditions of Wicca:

The Emblem of Seax-Wicca, an Anglo-Saxon influenced branch of Wicca,

symbolizes the sun, moon, and the eight Sabbats, or holy days:

The Elven Star (or Fairy star), a seven pointed star, is associated with
practitioners of Fairy (also Feri, Faerie, etc.), a Celtic-tinged Wicca:

The Elven Star is used interchangeably with or in place of the pentagram in

Faery/Feri traditions in Wicca. Most often, the points are ascribed various
correspondences, including seven symbolic directions (the four cardinal
directions, plus above, below, and within), seven magical elements (the four
alchemical elements plus three additional, which vary- sometimes, magic, light,
life), or seven magical places- sun, moon, sea, sky, wood, wind, and
spirit/interconnection) For more uses of the seven pointed star, see: septagram.
Traditional Wiccan ritual tools: The four most commonly used ritual tools in
Wicca are derived from the magical tools used by Ritual magicians of the
Renaissance. They symbolize the four ancient elements, and are used ritually to
channel their powers. They are directly related to the suit signs on tarot cards
and the four worlds of the kabbalah.
The cup or chalice is a symbol of the element of water, a feminine element
representing intuition, gestation, psychic ability, and the subconscious. The Cup

also stands in as a symbol of the Goddess, of the womb, and the female
generative organs. The chalice is sometimes interchangeable with the cauldron.

The athame or ritual dagger (sometimes, a sword), is a symbol of fire. The

Athame represents the fire element, and the masculine qualities of
consciousness, action, force, and strength. The athame is used to direct energy
and is employed in the casting of circles. An athame is traditionally black
handled and dull, but as the knife is considered a personal emblem, there is a lot
of variety in actual practice- one might see anything from a hunting knife to a
deer antler used as an athame. The use of the athame draws from earlier ritual
magic, and predates Wicca.

The chalice and the blade brought together symbolize sexual union, wholeness,
initiation. The dish, or paten, also known as a pentacle in most Wiccan and
Ritual Magick tradition. This item originated with the Catholic Church, and was
one of the four Grail Hallows and came to Wicca via Ritual Magick, where it was a
symbol of the element of earth:

The wand is a symbol of air. It should be noted that in Ritual Magick, wands are
of the fire element, and the dagger is of air. Wiccan practice generally reverses
these designations, largely due to the union of the chalice with the dagger in
ritual. Wiccan wands are usually made of wood (typically hawthorn or ash),
copper, or crystal, and can be quite ornate and personal in their design. Of all the
witchs tools, it is the most personal:

Additional Tools: The Besom, or Broom, fills a largely symbolic role in Wiccan
practice. Derived from European witchcraft folklore of broom dancing and flying,
the broom is used today for symbolic cleansing or purification. A typical besom
ritual uses the broom to sweep negative energy from a home or other
space.The besom/broom is also a focal point in Wiccan handfasting marriages,
where it acts as a stand-in threshold, which newlyweds jump to cement their
vows.

The Scourge is usually seen only in older Wiccan traditions. The scourge is an
implement, usually a small leather whip or cato'nine tails, used to gently strike a
member for purposes of purification of purging in rituals. The scourge is also
symbolic of spiritual discipline. It is derived from the symbolic ritual tools of the
Egyptian god Osiris.
The Boline or Bolline is a small, sickle shaped knife used to gather herbs used in
rituals and spells. The sickle shaped knife can be traced to Druid mistletoe
customs, and is a lunar tool. (In Scottish paths, sometimes a kerfan, after the
traditional dagger)

The White-handled knife is used by Gardnerian and other traditional Wiccan

groups for ritual cutting of cords and other used where a dull athame would not
be used, and in the construction of other magical tools.
The Cauldron is drawn from ancient Celtic mythology, and is sometimes called
the Cup or Cauldron of Cerridwen. The ancient Celts used cauldrons for food and
in ritual as an emblem of abundance and divine inspiration. In Celtic mythology
and folklore, the cauldron provides infinite sustenance or artistic inspiration. As a
Wiccan ritual tool, the cauldron is mostly symbolic. Most often used to represent
the fire or water elements, the cauldron is sometimes employed for scrying, for
mixing herbs, for consecration, or to hold the ingredients for a spell. It is
generally held to be a feminine symbol: