Carving My Wand

Earlier this year I designed a new altar for my rituals. Not intentionally, I was just trying to sort out what candle to use given the cost of quarter-used beeswax tea-lights! (see Candles For Rituals, February) Trying to picture how many candles (and what shape they should be) gave me a whole new altar design, which after much thought I decided I liked. Two candles at the back, a pewter goblet on the left, and Apple wand on the right, and space for the specific ritual or flowers in the front. The only thing was at that time I did not have a wand, nor much of a connection to Apple!

Following the advice from my spirit guides, I cut a small piece from one of my apple trees and whittled it into a rounded piece I could carry in a pocket. The act of whittling had me falling in love with the tree, and gradually over a few months, I have become more Apple myself. I see it as the female aspect of Mother: nurturing, loving unconditionally, wise without needing to say anything in the way of the perfect matriarch, using music more than words in order to reach the heart before the head. The emotional and musical aspects also put it in harmony with the elemental kingdom. With its blossom it brings beauty, while the fruit is abundant and generous. I find myself becoming aware of the energy signature of Apple, for example when out walking. If there is some apple in the hedgerow next to me it is like receiving a tap on the shoulder, so I turn around to look and sure enough, there is an apple tree I hadn’t noticed before. It just wants to say hello.

I was also given the design of my wand in meditation. It was to have an apple on the end, with that most knowledgeable of Earth creatures spiraling around the handle, the Snake. The ancient tale needed reclaiming apparently! As it happens I love snakes, and soon after I began carving we had some visits to our garden by a grass snake. I watched it diving and twisting in our pond as it gobbled up all the tadpoles it could find. (Sad, but I think I prefer that to the pigeons eating them!) Snakes to me are creatures of the sun; we only see them this far north when we have a spell of really warm weather. They are totally in tune with the Earth, the seasons, the weather, and can sense their environment through touch and smell. As their eyes glaze over they appear to enter a trance-like or shamanic state, and by shedding their skins each year (females, twice a year for males) they demonstrate how they can confidently transform themselves and be born anew. Hence snakes have become a symbol of healing ever since Asclepius.

After sketching out the picture of my wand, I went in search of some Apple wood. I found four pieces in my stock of garden tree-prunings, two were too narrow once the bark was removed although a good length, one was chunky and twisted with a fork on one end, and the final one was medium width, perfectly straight and nearly as tall as my shoulder. It seemed a pity to cut it.

The next thing I did was to use the finished wand – in its astral form. Some weather work was required, and Dragon and my new wand guided me on how to use a wand to bring a wind to shift the persistent fog. (See Wands and Weather, May) Afterwards I held each piece of wood in my hand, and then knew exactly which wood my wand was made from! A week or two later I had another occasion to use it, and tried to do this by memory; then I realised I was holding it too tight and the wand was uncomfortable. It seemed to me a very exacting wand! I know some people say to make sure you mark which way the wood was growing – again, holding this wand it was very clear which way the energy flowed through it, in a spiraling, twisting manner unlike my long straight piece of apple which had energy shooting through so fast that the apple scarcely had time to touch it and give it character.

The branch which had the wand inside it.


It is the first time I have ever done a woodcarving knowing that the wand is already made, and I simply needed to work towards that completed item. At the same time, that also made it much harder for me to work, since I couldn’t simply measure it, mark the wood, and use a saw to remove excess wood quickly. Instead I found myself turning the wood endlessly to find which way felt right in my hand, how long it was, where the alignment was in a twisted, off-centre core, and constantly removing it from the clamp to feel rather than working by sight.

It wasn’t actually a great piece of wood. There were dead bits even inside, splits, and a lot of knots. A perfect finish was never likely – which was probably as well with my lack of carving experience, thus avoiding any guilt. I am also allergic to sawdust so I decided a tooled finish was quite acceptable, with the use of a spokeshave and scraper to smooth off the shaft of the wand. (I know people with tools I can borrow, I just couldn’t let them help!) It definitely has character.

Once I had the stick round, and about the right size in my hand, I was able to draw on the design – starting by drawing around my fingers. It wasn’t an easy thing to hold, so finding ways to clamp it got more tricky as more work was done. I also couldn’t clamp it and work on one section, because it needed continual rebalancing in the feel across the whole wand. For most of the detailed work, I hand held it with the aid of a piece of rubber on my bench, and a no-cut glove. But the wand generally told me how to do things, which tool to use, and what shape to make it. Even the apple, which I thought was going to be a full-sized crab apple such as we have growing in our garden, the wand stopped me and pointed out that the apples that came from the same tree as the wood were completely different to all the others in my garden, being wide at the top and tapering down to a narrow base. I wished I had realised this earlier, but that is what I did. I also thought I was carving an adder, until a second visit from a grass snake to our garden made me realise that was wrong. Luckily it wasn’t too late to make the correction needed – which was more mental connection than physical carving.

I continued using the wand in my rituals as I carved it, so each time it was a little different. As soon as I started carving the snake I had a demand to call on Snake in the South in my circle casting. It made sense and was a good circle, so that is what I have done ever since.

Finally I had to decide when to stop carving and declare it ‘done’. I realised it was not intended to be a carving of a snake, but the spiritual essence of the snake. It is not a perfect woodcarving, it is a perfect wand. Here it is after oiling but still unfinished – I never photograph finished ritual items. Hopefully I will write about the final stage of its making in a future post.

Mostly finished Apple Wand

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Candles for Rituals

Candles have apparently formed a part of ceremony and ritual for around 5000 years. A ritual without a candle (or a fire) burning, no matter what other offerings or symbols are on an altar or equivalent, to me is just a meditation. It might be very meaningful in itself, but there is no uplift. No Fire in its pure elemental form to create a transformation in my subconscious.

Now that M is at school, I find I have time and space to do more full rituals again – and having not managed much for a few years it is a good opportunity for me to re-examine what I do and why. (Oh the joy, and effort, of being a solitary!) However, I have been encountering two problems. Paraffin wax, which the majority of candles are made from, smells awful to me and gives me breathing difficulties even without any scents being added. Alternatively beeswax candles, a beautiful smelling natural product, are expensive especially as easily available nightlights don’t burn properly in the time a solo ritual generally takes. Unless a candle burns to its edges before being blown out, it will form a hole in the centre, making it difficult to relight. So for my typical 30 minute or so burn time, 2cm is probably the largest candle size to use. (Several years ago I bought some beeswax “birthday candles” for which I was kindly made a wooden pentacle holder, but these only burn 10-15 minutes each. Great for a spell or focused meditation, but simply too short for a ritual.)

Pagans luckily have an answer to this problem, I have recently discovered, in the form of Spell Candles. Usually around 1-1.5cm across and 10cm tall, many are made of beeswax and come in a variety of colours. Burn time varies from an hour to 90 minutes, depending on size and if they are rolled or solid. Prices vary with some people charging a premium, while others charge in proportion to the amount of wax required to make each candle. (Yes there are now many electronic effect nightlight candles around, and yes it does take fire elementals to create electricity so they would be present, but this isn’t my first choice if there is a natural and sustainable alternative available.)

So having finally established that there are suitable candles for me to buy, I then start considering candle holders. Not many are this small, and they will need to be sized fairly specifically to which candles I choose to buy. Sticking one in melted wax on a plate is basic but tempting! But there is also the question of how many candles to have, given candle holders often come in pairs.

One candle seems to me to be adequate for a ceremony, to be lit at the start, before any circle is cast, and extinguished at the end. It can represent anything and everything, and ultimately symbolises that all is one. Connected through the centre which is everywhere. However, many witches have candles for the God and Goddess, possibly in addition to a central or carried candle (which may also be used represent Fire on the altar), making two or three candles per ceremony. Some witches also like to light candles in each quarter, coloured for each element, giving a possibility of seven candles. (I am assuming any candles lit as part of a spell or a working are extras.)

At this point I spent some time in meditation. I asked, what does my ideal altar look like for use indoors?

The picture that came into my mind was this one:

Two candles at the back. That was a surprise because it isn’t what I usually do. They are equal, yet apart. Goddess and God, Mother Earth and Father Sky, female and male, dark and light, above and below, within and without, manifested and unmanifested. I realised we live in a world of duality and what I seek is balance. Then on the right side of my altar, an apple Wand (I wonder why apple? I’ll come back to this when I know… ), ready to pick up and use, while on the left, a silver (pewter) cup bearing water. In the centre at the front, my working area where I can place anything specific to that ritual, ideally on a pentagram disk of some kind, completing the five-pointed arrangement. Underneath is my portable table covered by a bright green cotton cloth. Behind on the wall is a beautiful fabric picture of a tree.

I share this because it is considerably more basic and simple than most witches use – and in fact than I normally use! Yet although I was then shown how it could be added to, the athame next to the wand, a bowl for salt next to the cup, Goddess and God statues behind the two candles, other items specific to the ritual such as gemstones, flowers, amulets, pictures, carvings etc, I realised it is perfection in its simplicity, with each item being hand made and beautiful in itself. Both male and female are present, as are all four elements, as is an ancestor connection. If my altar represents me in the higher planes, then I seem to be calm, peaceful, simple and uncluttered inside.

A permanent altar with lots of things on it is not something that feels right to me because I live with non-Pagans who would have no use for such a thing and not treat my tools as sacred; when I am not using them, they (bell, athame, swan feather, cups, offering plates, etc) are safe inside my desk, along with all the other sacred objects, talismans, divination aids, space clearing tools etc that I possess. Our ‘seasonal displays’ on the mantleshelf act as a permanent focus with the various quilt tops I have made changing for each sabbat – they are based around the pagan year, which is of course the solar year so easily understood by all including visitors to the house. Our two dining candles live there when not in use, creating a parallel with my altar. I also have various locations in the house where there are power items that are left out all the time, and a place where I leave offerings in the garden. So after a bit of thought and experimentation, I find a really simple altar inside gives me the freedom to set it up quickly and easily when I want it (and dismantle it again before collecting M from school), and I have the flexibility to add any statues or symbols or flowers etc that are befitting to the ritual.

The loss of some tools does, however, feel like I am breaking a lot of rules! I clear space before casting a circle, so these tools are kept nearby, but I won’t now be putting them on my alter after use. My wooden athame I made has not seen much use, and it was interesting while exploring altars and candles to read other people’s comments that they don’t use an athame outside for fear of upsetting elementals – any blade is objectionable, not just an iron one. (I wondered if some witches used knives originally so that they had one to hand in case protection is needed. Also I suspect only rich witches in times past would have had a spare knife for magical purposes! Another area to come back to…) Incense I don’t use because I can’t cope with smoke – but I do sometimes use natural sprays while cleansing the space so I’ll have to find a way to work these in. Also my apple wand will need consecrating when I have made it, so I’ll have to find a way of doing this that doesn’t involve smoke!

I am amused that I started out just trying to work out what candles to buy, and have ended up redesigning my altar, and probably the whole way I celebrate. Sometimes all it takes is a small thing for us to make the big changes that we simply couldn’t see before.