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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Wands and Weather

Back in February when I was redesigning and simplifying my altar, I learned that I ‘had’ an apple wand. This made very little sense to me at the time for two reasons. First, that I have never used a wand finding my finger a pretty good tool for most things, and second because I had very little connection to apple as a wood. Since then I have made some progress in understanding these two difficulties, so am now ready to write a bit more.

A wand is always associated with witches and other magic workers in fiction, but in modern witchcraft rarely gets more than a passing mention. For those in a coven it may be obvious as to when a wand is employed, but for those like myself who read, experiment, meditate, and talk to dragons or other spirits, it seems of much less concern. Most books seem to promote the athame as the primary tool for casting a circle and directing energy, and for the great rite (although this has less relevance for a solitary witch!) But a wand is frequently the subject of a single paragraph, saying that it can be used to direct energy, without explaining how or when; and that it is usually associated with Fire as it represents Will, while the athame is Air and connects more to the mind. (Some say the Rider-Waite-Smith tarot deliberately reversed these in order to keep occult practices secret. There is logic both ways, since a blade is forged by Fire while a tree branch grows through the Air, but I know it is my Will I am directing through my finger or a wand and not just my thoughts!)

However there were also good reasons for not using an athame as my primary tool: the intention of a blade is usually to cut, whereas my aim is usually to direct energy; elementals don’t like blades being used, iron or other materials, so if outside I would need an alternative; and finally, laws in this country make it very difficult to legally carry a knife anywhere outside the home. I couldn’t help wondering if witches did use knives for casting their circles in days gone by, whether this was for protection against being seen before the circle was complete, that the knife was then in heir hand ready for use. I also find it very hard to believe that the average witch could afford a knife that was used purely for witchcraft or circle casting; I think most were practical people who took whatever household items were most suited to their purpose and sometimes a knife was appropriate to have at hand.

So having accepted a wand as my tool, I realised that the wood Apple is generally associated with Air, the fey, and music. Now I was getting a hint of why Apple might be right for me! I have recently been trying to sing the songs suggested to me by stones or water, and finding each to have its own character and be unique. Different types of stones, soil, sand, pure water or polluted water, each expressed its character through the song I sang with it, and area I have been developing and want to do more with. But was that the only reason? I decided to ask Oak about it, and have now had several discussions with him and various other allies.

The first discussion – I already have apple trees in my garden who would like to be used, I don’t have my own oak tree! And apple will lend its gentle aid, being strong and unweilding but also add a loving, peaceful, sharing influence.

The second discussion, after more reading and still feeling very little connection with Apple – yes other woods will do, but get to know apple! Apple brings calm and peace to its work, along with maturity. Not fast like Rowan, or straight like hazel, but loving and giving. Different doorways to Oak. Female. Time to set the Eve story in its proper place.
I then cut a short length and whittled the corners off while fresh from the tree, and was overwhelmed by the amount of love coming from the tree. It now takes its place on my altar until I have finished making my wand.

The third discussion – following on from learning about trees dying, (see ‘When is a plant dead?’) a certain consciousness exists in any piece of wood, and how it works will depend on the original tree, where it is cut from the tree, what is carved in it, how I add to it and add my consciousness to it. (This is why no one should borrow a wand!) I should use it for sun circles, sabbat celebrations, casting circles, love, friendship, for myself spiritually eg gaining wisdom, knowledge, singing, meeting goddesses. One day I’ll want a moon wand for working outside at night, hazel, and a yew wand for different work. But Apple first and for now. (A few weeks later I realise that the three woods are all female to me, and represent maiden, mother and crone. I discover unexpectedly that I have recently fully embraced motherhood; not by having a daughter who I am slowly teaching independence to, but by taking in houseplants that will need nurturing care for their whole lives (see ‘Bringing Plants Indoors’) so this shift in me is why I must make the Apple wand first; then go back and make Hazel. I’m not quite a Crone yet, so Yew could be a few years off.)

There was nothing suitable I wanted to prune from any of my apple trees, so I investigated my collection of stored wood – and found four pieces of apple from our garden already cut and seasoned from previous prunings. However, none seemed ideal for a wand being either too small once the bark was removed, or too large.

Then finally, I use my wand, under the guidance of Dragon. Some weather working is needed, and I am told to use my wand to call a wind and shift the clouds that have brought persistent fog for days now. I try holding it, knowing by now how it needs to be carved, and feel its energy through my arm and hand. I direct energy with it, and feel how much more effective it is than just me. Later I go back to my pieces of wood and can feel exactly which one it is carved from. The clouds start to clear; the next day is bright sunshine. The weather forecast has apparently ‘changed’.

I use my wand again a week later, first holding it too tight, then realise my mistake. This wand is very exacting! I finally understand that I am needed for weatherworking because I am not attached to any particular weather; I am actually happiest with the variety England normally gets. In early March I had asked if I should shift the snow, but was told it was necessary to rebalance the world and for humans to start to become aware of how they are affecting their environment, and there would be another 3 weeks of cold. There was. This time I was told it was right to shift the fog, and later to rebalance again, and therefore felt confident in doing so. Ultimately I need to keep balance, because humans are out of balance with themselves, and with the weather, wanting only sunshine. The problem is a result of humans, therefore humans must be involved in its solution, if we want to continue to work with the Earth. I have worked locally for several years, (see previous posts) but now also sometimes nationally when my awareness is capable. I share because more people around the world are needed to do this work. I didn’t choose it or ask for it, but seem to have been given the responsibility for it.

I was reminded by Dragon to say again that it is not me changing the weather, I am simply doing the asking and providing the energy for it to happen. I need to be in tune with what is happening, and to always ask as I have done so far, and to find ways of directing and raising energy that suit me and are appropriate to the level needed. It can be ritual, or singing when I need more energy than is easy for me, but I also need to learn more about the various winds and which one to call up, as well as the trade winds. Apple is keen to help with this and to bring more abundance of fruits to the land.

And finally, I find myself working on a writing project with the fey. I can’t help wondering if Apple has provided the link!

Sewing in Circles

Knotted Button

A winter coat … and an opportunity to try out some different knots. These (there are three, but it didn’t feel right to photograph the whole thing) were fun to make, although a little tricky. I like to use knots to bind good emotions for the wearer, and it felt good to have three circles in each.

Three is an important number in Neolithic and Celtic art – I think of the triskele with its three spirals, or the triquetra of three interlocked semi-circles. There are three realms to our world: Earth, Sea and Sky, and within these we live through three stages of life: maiden, mother, crone. Our health is often seen in terms of Body, Mind and Spirit. When we journey, we choose Upper, Middle or Lower Worlds to explore.

Goddess Brigid has three aspects, as does The Cailleach. Badb, Macha and Morrigan work together and are collectively known as The Morrigan.

Three makes me think of a tripod, or a milking stool, perfectly balanced no matter what the terrain, each leg supporting the others. It is the potential of two parents with a child. A triad in music is a perfectly balanced chord, major or minor, that forms the root of Western harmony.

There is a lot of energy stored in three-ness, as there are always forces acting together. It is not a stable energy like four is, there is constant change, growth, development. Things can happen. The triskele has three legs going out from the centre, balancing yet full of movement, looking outwards. The child will pull forwards. Triple Goddesses include Creativity. Triads can become counterpoint and fugues as well as chorales. Yet there is perfection and completeness within that three-ness.

Sewing these knots on took longer than making them, and needed me to turn the coat on each stitch. Definitely sewing in circles.

Dragon Hill

I found it. Next to the White Horse at Uffington is a small, flat-topped hill, supposedly where the dragon was slain by St George. Or St Michael. Nothing will grow there now; the dragon’s blood has apparently spilt everywhere and poisoned it.

Stories of dragons being killed are not likely to induce me to visit a place by themselves; given that Fireball had said he would meet me there (see previous two posts) my immediate reaction was to try and investigate the truth of the hill. It turns out to be quite interesting. The hill is entirely natural, but its top was quarried off in the bronze age or earlier to leave a flattish wide area a little larger than the average stone circle. The reason nothing grows is because there are very high levels of potash in the soil, indicating that huge numbers of fires have been laid there over a long period of time. So I was quite looking forward to what I might find there.

A visit was planned (it wasn’t too far from where I grew up), the day booked, the forecast was good. Then as the day approached, the forecast got worse and worse – I had no walking boots or waterproof trousers with me having traveled light on the train with M, and while a small amount of dampness could be coped with, the promised day-long deluge could not. So the evening before, when everything looked impossible, I said to Fireball that if he wanted to meet me on Dragon Hill then he would have to do something about the rain!

Luckily he did. The morning started badly with one delay after another, but then I decided to trust that there was a reason for all the delays, the weather was checked again and lo and behold the front had moved much faster than previously expected and should be clearing around lunchtime. We took a dry diversion to look at some medieval stained glass on the way, and did indeed arrive exactly as the rain eased, giving us a dry picnic and afternoon. Thanks Fireball!

I visited the horse first, which having just had its annual ‘chalking’ completed the day before was looking stunning. It is amazing to think that if just ten years went by with no one rechalking the horse, it would be lost, probably forever. The horse has now been shown to be over 3,000 years old, thanks to methods of dating the soil in the bottom of the pits containing the chalk. In that time the horse has gradually worked its way UP the hill, so is now more easily seen from the sky than by people in the area – there are suggestions it once acted as a ‘flag’ for the tribe who lived there. Maybe there were once many more such pictures on the hillsides, such as the Cerne Abbas Giant and the Long Man of Wilmington, but they simply weren’t cared for over the centuries.

Next I walked down to Dragon Hill, a large zig zag of a path at present to reduce the damage of walking down the steep spur of the hill. The alternative route is less steep, but doesn’t connect the two. I mention this, because once I was at the top of Dragon Hill, what really made an impression on me was the way in which each part connected. The fires of the hill, huge, held at times of passing or special ceremonies, had most of the watchers down below on a flatter area. Then the procession up, along the line of the horse, to the fort beyond. However, after sitting a bit longer I felt that for a small number of people the journey would be in the other direction. Possibly their last journey on this Earth. Most people would not have walked the line of the horse however; unless they or the event was special in some way, they probably would have taken a route nearer to the zig zag one I took, part of which was worn deep into the ground. Finally I looked down to the area called The Manger, where the horse is said to descend to graze on moonlit nights, and realised how green it was there compared to the dry chalkiness of the ridgeway. It would have been an excellent place for animals to graze, as it still is now.

I returned to the area later in a meditation journey, and realised I had already received one of the most important ‘lessons’ for me at this special place: to look at the relationships between different aspects of places, seeing a more holistic view of the landscape rather than just one key point. The shape of the land, to really feel it and connect with it, how it was formed, how the different aspects relate to each other and why this site possesses such innate power. This power was of course recognised by the bronze age tribe who lived there, and I started to see glimpses of what might have been.

Some distance away is a long barrow known as Wayland’s Smithy, or on older maps as Wayland’s Smith Cave. Legends also connect this to the white horse, who is said to go there every hundred years to be shod. (The last time he went was apparently in 1920, so a visit is almost due…) However I was surprised to feel little connection between the two sites, and unlike the similar, larger barrow at West Kennet, did not feel any strong energy flows here. My feeling was that it was used at a different time period to the fire hill, possibly also by people who lived in the fort and deliberately planned it some distance away in order that it may be quiet there. Separated by space. It does however have a magic of its own due to the trees that surround it. Beech and not particularly old, they provide shelter and protection, preventing the energies of the place just rushing out along the much used track which is the ridgeway. It is static, feminine, and a good place to connect with the Earth since the chambers are so low that it is necessary to crouch down very small.

Rowan Trees

Rowan Tree growing in the mountains near Beddgelert. (Click to enlarge.)

Rowan has long been known as a witches tree and for protection. Amusingly, it is used both by witches, and also to protect from witches; this often took the form of two sticks joined together with a red ribbon and hung over a doorway, or a branch with berries laid over the mantlepiece. Rowan was often used to protect animals; cows in their stable, or sheep jumping through a hoop at the beginning of May. Its energy qualities are light and air, and these are so strong that they can transform any darkness around them, hence the protection that follows. It certainly grows well in light and airy places, such as the sides of mountains, needing no shelter for itself but looking after other trees until they may stand alone.

Rowan is also known as the ‘quickening’ tree or Quickbeam, as its energy gives life to projects encouraging them on their way. Without a burst of energy, such as the rowan can provide, creative ideas are lost and do not manifest in the physical world, or projects are started but abandoned before being completed. I suspect I have Rowan to thank for the many things I actually manage to get finished and then write about here!

Rowan appears in many old myths and legends, being considered sacred in many different European cultures. This may have something to do with its colours, as red berries were powerful symbols of life and death. It may be because of this, or it may be its lightening and quickening properties, or it may be the flowers that were sometimes used for a visionary aid that have led it to be planted around ancient sites – such as the thickets that grow in Iceland. Rowan trees were sometimes planted in Britain on energy points instead of standing stones and in churchyards in Wales in place of yew.

Rowan trunk

So now I will return to the story I began last time, about meeting the dragon Fireball at a rather special rowan tree in Wales. This tree is growing half way up, or rather down (the direction we were walking) a mountain valley near Beddgelert. The first thing that struck me was its size; the trunk is beyond what I could get my arms around, which makes it the largest rowan tree I can remember seeing. So I stopped to spend a few minutes with it.

Rowan branch

Around the back was a branch that had been cut off at some point several years ago, and the tree had almost grown around the stump of the branch, another thing I don’t usually associate with rowan. And the third thing was a pool by the side of the tree, showing how it had grown so strongly, and also giving it a connection with other worlds in a way I might usually associate with willow or alder or occasionally oak but not rowan.

So I walked around the whole tree, stopping at a low branch to admire the bark, and who do I see but Fireball playing around the spaces between its branches. He didn’t seem to want to talk, just play, but told me I could travel here from my own rowan tree at home any time I wanted to. I suddenly understood what the concept ‘group soul’ means in practice: all rowan trees have the same basic core, which comes through in their teachings and wisdom, in their energies, but all are also connected at another level. While it is easier (for me at least) to connect with and talk to older trees, a young tree is still part of that bond and can link to the others if I make use of that link. The fact that I travel between oak trees regularly serves to emphasise to me at least how this applies to all tree species.

Rowan tree where I met Fireball, with pool to the left.

The second thing I learned while at the tree was the particular ‘feel’ of Rowan energy. I have sensed it through smelling the flowers, but since I have never come across a Rowan tree of this size before, I have never truly experienced its unique qualities. I would know it again anywhere now, even from a small tree, just like I can recognise the energy signature of oak when I can’t see one along with a few others I know fairly well (eg beech, hazel, apple, birch, willow, heather) when I make the effort to connect to them.

Later, I managed to ask Fireball about the tree, and the legends of Rowan trees and earth dragons, one supposedly marking or guarding the other. (I have read of the relationship both ways around, but I like having things confirmed for myself and explained in a way I can understand them.) However, I learned nothing about the legends on this occasion! (Well he is a fire dragon not an earth dragon…) But what I did learn was that he just loved the energies of the tree and loved playing in it, in the same way elementals played in trees or other places sometimes. He reminded me about the joy of playing, of feeling, of exchanging energies, and of a story I read long ago of a very psychic person ‘visiting’ some distant ancestors at a remote spot playing in the sea, who just liked playing and took energy from the waves, the sun. Being at one with them. Fireball has a relationship with Rowan, especially when in berry, while other elementals have relationships with different trees; each type of tree has its own friends who associate with it, like attracting like. He reminded me of the particular elementals of hazels, of birch and of oak that I have seen on rare occasions. They all work together and are happy to do so.

Yet Fireball is not an elemental. He has nothing to do with the growth or development of the tree. His only reason for being there, as far as I can tell, was in his role as teacher. To show me the place, and to help me become more aware, and to enjoy Just Being as well.

Trellech

Not a stone circle this time, but standing stones and an earth circle nearby…

Trellech today is a small village, located just over the Welsh border from the Forest of Dean, but it is currently the subject of archaeological investigations to discover the centre of the huge medieval city it rapidly developed into during the thirteenth century in order to make weapons for the de Clare family. An original ‘iron-rush’ town of 10,000 people, at a time when London only had 40,000. Its boom years ended just as abruptly however, after a raid in 1291 over alleged deer poaching.

The name Trellech means ‘three stones’, although that is not the only site of interest in the village. There is also a ‘Turret Tump’ and a ‘Virtuous’ well. I did not manage to visit the well unfortunately, as the water apparently runs directly under and in line with the three stones therefore linking the two sites. But what I have managed to find out afterwards is that it was previously known as St Anne’s well, probably from Annis, the Celtic goddess of rivers, water, wells, magic and wisdom, suggesting it was used in pre-Christian times if not earlier. There are stone seats for travellers and niches for offerings or cups, and it was visited regularly until late seventeenth century, as well as by modern pilgrims tying offerings to nearby trees. It is said to be fed by four springs, three of which contain iron (as might be expected given the ore that was mined locally) and each of which was said to heal a different disease, particularly eye ailments and women’s problems.

Both stones and tump have generated legends over the years, mostly connected with an eleventh century Harold – though clearly they are much older than this. They are however depicted on the sundial on the church… There has been a church there since the seventh century, such was the importance of the site.

Three stones of Trellech

The three stones rise out of the earth in the middle of a sheep field, leaning in random directions but with their bases in a straight line. Photos cannot do them justice – they are huge stones, towering over me. The tallest is around 15 feet high. The conglomerate stone is known as ‘puddingstone’ and looks much like weathered concrete with the aggregate showing on the surface. There are possibly cup marks on the middle stone.

Turret Tump


Nearby is the mound, around 20 feet high, which most sources describe as being medieval and built as the motte for a castle. There was indeed a castle here in the twelfth century, probably belonging to the de Clare family, but I also read suggestions that the mound was there in Roman times. I wondered if it may in fact be much older, and contemporary with the stones. Sadly it feels somewhat abused, with trees now growing on its summit and brambles on the sides.

While not proving anything, I tried meditating on the two sites I had visited to see what ideas came to me. Here is my summary:

“Three stones, almost like ribs. Very male, a line to exactly balance the mound which is female. Very different sort of people / tribe who built these compared to Derbyshire circles, with very different purpose which is beyond me to understand at the present time. Slightly older, but different. Still working with earth energies, just in a different way – which I don’t have means to access [ie feel with my hands or body] like in a circle or a barrow. Were more hills like this, balanced by stones, but not generally recognised today – like Silbury hill yes, but often smaller. Somewhat abused by turning it into a castle, but it didn’t last long!”

Blackwell Stone “Circle”

Blackwell Stone “Circle”
(Click to enlarge.)

Here is a Peak District novelty that I happened to spot on the way to somewhere else, and stopped to take some photographs on the return journey. Five large stones placed in an arc on a raised bank in the middle of a field, near the hamlet of Blackwell, clearly visible from the B6049. Grid ref: SK1267.7194 (last digits approximate – it is private land so I didn’t enter the field and pace out the exact position.) At first glance it might appear to be the remains of a stone circle.

However, as a circle, it doesn’t quite fit and I suspect it isn’t really trying to. The stones are limestone, whereas Derbyshire stone circles are all on gritstone – apart from the much older henges. Their size and shape also feel incorrect for a historical circle, since nearly all are ‘female’ in shape and are too close together proportionally. (Avebury alternates male and female for example, other circles are nearly all male.) Being approximately 3-4 feet high, this is also unusual for Derbyshire as most circle stones are either considerably smaller, or 6 feet plus. And the bank they sit on was probably created to support the stones and shaped around them, it does not continue to complete a circle but slopes off evenly in all directions before the ground rises again near the wall.

And yet… There is a totally unexpected power and majesty of these five stones erected carefully and precisely by human hands. They line up neatly in their arc with a precision many circles lack, and they are substantial lumps of rock. Even if it can’t be called a circle, it is an intriguing rock sculpture and deserves praise for that alone.

I was unable to meditate with the stones, given they are on private land, but I did return to them in a mediation journey later.

My first impression was a surprise of how strong energy links there were between the stones. They had come from the same place and were all strongly connected to each other, and that was replicated in their alignment. It made me see how other stone circles could easily build up such a strong energy field around the circle. However I then tried to feel beyond the stones, even within the arc, and there was nothing. If I had ever been in any doubt that this was never part of a circle, this would have confirmed it, as there was absolutely nothing across the empty space. Not even a path where people might have walked from the nearby farmhouse to the stones. I have found that it is usually possible to feel the energy of where stones were and feel the circle even when it is not visible, but that wasn’t the case here. Possibly this is an opportunity missed – there are other circles around with only 4 or 5 large stones, eg see photos on my blog about Duddo Stones, Northumberland, and also elsewhere in Derbyshire that I haven’t written about yet. But more likely whoever erected the stones just wanted them to feel like part of something bigger, and maybe one day there will be more.

The other discovery of interest from my meditation was that the stones were each already quite weathered and shaped, and I could see how this would increase over time making them each into sculptures in their own rights. Some would hold water, others would develop fissures and other interesting shapes, but all seemed to have somewhere smooth you could run a hand over.

Froggatt Edge Stone Circle

Finally. The first circle in my quest to visit, meditate at, and photograph all the stone circles in Derbyshire…

Froggatt Edge Circle

A first view of Froggatt Edge Stone Circle as approached from Curbar.

Froggatt Edge circle, also known as the Stoke Flat circle, is one I must have unknowingly walked past twenty years ago, yet never saw on the ground. Only a short way off the path, it is easily missed even in Winter unless you were deliberately looking for it. In Summer bracken would surround it and make it harder to spot. In my defence, at that time the circles I was most familiar with were Stonehenge and Avebury in Wiltshire, and possibly Castlerigg in Cumbria. I had no idea that such small, indistinct circles even existed. So when looking at options for a family walk, with requests for some rocks to climb and somewhere not too wet after a week of rain, I was keen to return to the area and see if there was anything there.

My former ignorance is fortunately not shared by others, and besides photographs and maps for most Derbyshire circles being available online, there is also an excellent book ‘Stone Circles of the Peak: A Search For Natural Harmony’ by John Barnatt, published 1978 with detailed drawings and alignments of each circle he surveyed. However, I made a decision not to research this circle in any way beforehand, reckoning that I should be able to find it with some fairly simple navigation from the map, so that I could have my own impressions uncoloured by others. I have instead used the information available to fill in the gaps afterwards.

Tall Rock

Tall rock by entrance.
(Click to enlarge)

The circle is actually quite large in the area it covers, approximately 18m across, but there is only one stone above waist height and a few knee high ones remaining. There is however a slightly raised bank forming the ring, so that the stones that remain do look and feel as if they are indeed part of a circle. Unusually the stones are on both sides of the raised ring, suggesting to me that either they have been moved at some point in the past, or it once had a double ring of stones, inside and out. (John Barnatt suggests the latter, in common with Ewden Beck / Broomhead circle some 12 miles further North into Yorkshire. But see also below.)

I took a few photographs as I approached the circle, then I put the camera away and entered by the tall stone as that felt like the ‘way in’. It had a deep hollow in its top, filled with water. After feeling my way to being at home in the circle, I then chose a rock to sit on – in this case a ‘smiling’ rock called to me and proved incredibly comfortable, the perfect height, size and flatness for sitting. I felt very welcome, and even loved as I sat there.

Smiley Rock at Froggatt Edge Stone Circle

Smiley Rock at Froggatt Edge Stone Circle, showing stones on the opposite side of the ring in the background.
(Click to enlarge)

The first thing that struck me was how peaceful it was. There were strong gales blowing that day, making walking difficult at times, but being just slightly back from the Edge the circle was almost windless. It also seemed undisturbed by the popular path running almost alongside; the only other people I saw take any notice of the circle that day were with someone who, judging by conversation, had recently done an archaeological survey of the area and wanted to show it to them. Everyone else simply walked on by.

Sometimes sitting on the edge of a circle makes me feel slightly uncomfortable, being aware of the boundary energy-wise. I didn’t feel that here – possibly because the boundary was further out, at the outer edge of the bank – but neither did I feel so energised that I couldn’t stay for very long within the circle as I have felt elsewhere. Instead I had a real sense of the circle as as a stable and complete form and me as part of that. This is a rare true circle, not egg-shaped as is common, and I could really feel that as a stillness and strength. (According to John Barnatt’s plan and geometry, I was also sitting along the side of a square within the circle; the entrance being through the point of the square. A perfect square would likely increase the solidity and stability of a circle form.)

Although the circle did not feel particularly powerful when I visited, as if the new moon was its weak time, I felt strong within myself by sitting there and feeling its energies. Like I could achieve anything I wanted to. A feeling of empowerment. That was something I carried with me for several days afterwards.

Two days later I was able to do a journey back to the circle. I wanted to ask if there was anything I had missed, or should have done, whilst there.

Water offering

Water offering

The first seemed frustratingly obvious in retrospect – I should have taken some of the gift of water at the entrance that was there for me! I find it hard now to believe that I didn’t and am really puzzled by why I didn’t, but it serves as a reminder for next time. Recognise and accept gifts offered, and connect with all four elements when there is an opportunity to do so.

Beyond that, I’m glad to say I learned new information. I discovered that the circle was anchored through all worlds on Earth, and is a place where it is possible to move easily between the worlds, and the worlds come together. By this I am including lower and middle worlds, and worlds of the fae (another lower world but, to me, in a different place than that of animals). I didn’t specifically explore any world of ancestors (I haven’t tried that before) but I did have a strong sense that the circle was built by and used by people. More specifically, I seemed to see two rings of stones, with the inner ring being used to sit on as I had done, and the centre of the circle for dancing. This is different to Stanton Nine Ladies circle, where I have sensed any ‘audience’ would stay outside the circle while not taking part, whereas here some, or even all if only a small group was present, would be inside. I had an impression of the circle belonging to a family or clan or tribe who loved and looked after the circle. They lived some distance away on the moor where there was water, not by the river although they could see it and used it for a trading or travelling route. It was safer up on the moor.

Within the circle itself, I sensed that an energy vortex could form at the centre when at its peak time, that is when the sun or moon was fuller, and also dancing was used to raise the energy. I couldn’t get any idea of how this energy was used however – beyond it being slightly different to an experience I had regarding Wet Withens circle a couple of years ago. (Saved for when I revisit.) Clearly each circle type, and possibly each circle, has its own distinctive character.

Alignments made by John Barnatt show that the circle has been built to line up with the midsummer full moon over Arbor Low and midwinter full moon at Win Hill – a very distinctive, pointy hilltop which rises abruptly out of flattish moorland. While his sunset positions seem a bit non-specific to the horizons, he then points out that when sitting the midwinter sunset is in the centre of the tallest stone. Additionally, Imbolc / Samhain sunset is at the stone next to this, and midsummer sunset one further along. It is possible that missing stones once marked the other key sunsets through the year.

Froggatt Edge Stone Circle.

Froggatt Edge Stone Circle looking towards the Edge and the footpath. Sunset stones on the side nearest the trees.


Update
As the project continues, and I find out more information, it grows… Within the boundaries of Derbyshire, I am now aware of:
5 possible Henge sites, all on ‘White Peak’ or Limestone, of which only Arbor Low has any stones and is sufficiently intact to see the whole ring.
33 probable stone circle sites, all on ‘Dark Peak’ or Gritstone – of which 23 are known to have stones remaining.
4 sites which may be stone circles but are more likely ring or kerbed cairns – 1 of which has stones.
9-10 destroyed circle sites. (Debateable if the village of Ringstones had a stone circle, but it seems to be generally assumed that there was one once. Nine other circles have been recorded at some point since 1800, but are now lost.)
3 modern circles.
And a lot of confused grid references, or multiple names for the same circles… I can see why a GPS might come in handy!

Happy Imbolc

The 1st/2nd February may be the start of Spring, but Imbolc was not a sunny day here this year!

Maybe I should be glad – it is said in Scottish folklore, that if the Cailleach wishes to make Winter last longer, she will ensure Imbolc is bright and sunny so she may gather lots of firewood. If the weather is foul that day, the Cailleach is fast asleep and Winter is nearly over. It was so windy that I had trouble taking any photographs at all, although at least our everlasting fog has been blown away. The poor snowdrops in my garden, pictured in snow at the start of February two years ago, have not had enough warmth or sun to open properly yet this year and are now looking ragged.

Rosemary flowering for Imbolc

Rosemary flowering for Imbolc

But an unexpected find: Rosemary just coming into flower. It is a wonderful Winter herb, full of flavour through the darkest months when nearly all the softer herbs have lost their leaves or disappeared below ground, as well as giving shape to the garden. Then just when I start thinking the ‘evergreen’ plants are looking stiff and tired they spring into new growth, or bring out these wonderful blue flowers. It makes a great herbal tea, full of robust energies – as well as being anti-bacterial anti-septic, and an antioxidant. I also like it mixed with my other winter herb, Thyme, which is great for coughs.

Stone Circles in Derbyshire

I have started a new project recently, one I have been cogitating since the start of the year. My aim is simple – to photograph and meditate at all the stone circles in Derbyshire. Needless to say, it gets more complicated from there!

The first question I looked at is why stone circles, and should I include anything else? Most stone circles can be reasonably dated to the Bronze Age from finds within the circles – but there are also huge numbers of other Bronze Age sites in Derbyshire which include cairns, burial mounds, carved stones etc as well as evidence of settlements. However, Derbyshire has been inhabited since at least the last ice age, with various pieces of evidence from limestone caves in the north of the county as well as near the river Trent in the south – and there are two older (Neolithic) henges, one of which (Arbor Low) also includes stones. Did any of these have an influence on the Bronze Age circles, and if so how? Then of course there are the later Iron Age hill forts, not to mention all the Roman roads and forts through which these circles have survived, and which the circles may have had some influence over. There are also other complications: some circles do not exist any more; some recorded as circles may have been ring cairns rather than stone circles; and there are also several standing stones, age generally unknown, which are even less clear in their purpose than stone circles but which are sometimes more dramatic than a circle with one small stone remaining.

So my first meditation was to answer these simple questions.

A circle, I realised, is something special. The energies flow in particular ways, it is very feminine in form, it is related to the circle witches cast, and it is healing in its centre. For some reason these are apparently all things I need right now. Many also have alignments to the sun at different times of the year following the larger cycles of our lives, so it would be good to visit them at their appropriate times if I can.

Stone Circles in Derbyshire

Stone Circles in Derbyshire, with rivers.
(Click to enlarge)

The beginnings of my map, shown here, includes 34 ancient circles, of which 8 destroyed (yellow) leaving 26 (green, darker for better preserved) to be found and photographed. Two of these are henges (double circles), one with stones and one without. There are also three modern circles (brown squares) to investigate – two apparently built new but using old rocks, the other entirely modern as a public space – to see if anything of a genuine ancient circle is created.

It is of interest to me how all the Derbyshire circles are concentrated in a small area mainly following the Derwent valley. They appear to be features of hilly areas where there are naturally rocky outcrops – yet sometimes the rocks were moved some distance from these outcrops. (There is no great concentration of stone circles just over the borders into Yorkshire, although there are larger numbers roughly following the Pennines north, as well as in other upland areas further west such as Cumbria, Wales and the South West. Very few stone circles exist in the East of Britain until you get to Northumberland and Scotland.)

Those known to be lost were possibly in more intensively farmed areas – whether there were more circles at one time is impossible to know, although my feelings are that it is unlikely since we would be talking about pre-enclosure days, when few would have worried about some rocks in the way of their sheep! What is more likely is that there were wooden circles built in lowland areas which simply would not have survived.