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Once cats were all wild, but afterward they retired to houses. - Edward Topsell
2011 is on it's way... Maybe you are looking for a nice kitty calendar
AUF DER SUCHE NACH MÖGLICHKEITEN,
MÖGLICHES FESTZUHALTEN (Heinz Gasper 1980)
Als gebürtiger Düsseldorfer hat es mich schon sehr früh in die Ferne gezogen. Frankfurt, München, Wien, Graz und seit 1999 wohnhaft in Jennersdorf, im wunderschönen Südburgenland.
Im ausgeübten Beruf als Werbegestalter und Grafiker (1966-1992) aber auch in der Selbständigkeit (bis 2012) ist die bildende Kunst immer allgegenwärtig gewesen.
Meine Leidenschaft sind Experimente mit verschiedenen Hilfsmitteln und Materialien wie zum Beispiel:
Kurzfilme mit und ohne Kamera - Kodak-Sofortbilder ganz ohne Kamera - Negativstreifen und Dias anders gesehen - PC-Fehler zur kreativen Weiterverarbeitung verwenden - Digitalfotografie und ihre Möglichkeiten mit einem Apple-Computer kombinieren und verfeinern - und bis heute noch vieles mehr entdecken...
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The Eras Tour 2023
Soldier Field
Chicago, IL
June 2nd, 2023
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
#AppsForMyPC #PaidApps, #TopSelling : Monument Valley for PC Free Download on Windows 7/8/10/XP and MAC PC
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The Eras Tour 2023
Soldier Field
Chicago, IL
June 2nd, 2023
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
The guinea pig or domestic guinea pig (Cavia porcellus), also known as cavy or domestic cavy, is a species of rodent belonging to the family Caviidae and the genus Cavia. Despite their common name, these animals are not in the pig family Suidae, nor do they come from Guinea in Africa, and the origin of their name is still unclear; they originated in the Andes of South America and studies based on biochemistry and hybridization suggest they are domesticated descendants of a closely related species of cavy such as C. tschudii, and therefore do not exist naturally in the wild. In Western society, the domestic guinea pig has enjoyed widespread popularity as a household pet, a type of pocket pet, since its introduction by European traders in the 16th century. Their docile nature; friendly, even affectionate, responsiveness to handling and feeding; and the relative ease of caring for them have made and continue to make guinea pigs a popular choice of pet. Organizations devoted to the competitive breeding of guinea pigs have been formed worldwide, and many specialized breeds with varying coat colors and textures are selected by breeders. The domestic guinea pig plays an important role in folk culture for many indigenous Andean groups, especially as a food source, but also in folk medicine and in community religious ceremonies. The animals are used for meat and are a culinary staple in the Andes Mountains, where they are known as cuy. A modern breeding program was started in the 1960s in Peru that resulted in large breeds known as cuy mejorados and prompted efforts to increase consumption of the animal outside South America. Biological experimentation on domestic guinea pigs has been carried out since the 17th century. The animals were so frequently used as model organisms in the 19th and 20th centuries that the epithet guinea pig came into use to describe a human test subject. Since that time, they have been largely replaced by other rodents such as mice and rats. However, they are still used in research, primarily as models for human medical conditions such as juvenile diabetes, tuberculosis, scurvy (like humans, they must get vitamin C), and pregnancy complications. The scientific name of the common species is Cavia porcellus, with porcellus being Latin for "little pig". Cavia is New Latin; it is derived from cabiai, the animal's name in the language of the Galibi tribes once native to French Guiana. Cabiai may be an adaptation of the Portuguese çavia (now savia), which is itself derived from the Tupi word saujá, meaning rat. Guinea pigs are called quwi or jaca in Quechua and cuy or cuyo (plural cuyes, cuyos) in the Spanish of Ecuador, Peru, and Bolivia. Ironically, breeders tend to use the more formal "cavy" to describe the animal, while in scientific and laboratory contexts, it is far more commonly referred to by the more colloquial "guinea pig". How the animals came to be called "pigs" is not clear. They are built somewhat like pigs, with large heads relative to their bodies, stout necks, and rounded rumps with no tail of any consequence; some of the sounds they emit are very similar to those made by pigs, and they also spend a large amount of time eating. They can survive for long periods in small quarters, like a 'pig pen', and were thus easily transported on ships to Europe. The animal's name alludes to pigs in many European languages. The German word for them is Meerschweinchen, literally "little sea pig", which has been translated into Polish as świnka morska, into Hungarian as tengerimalac, and into Russian as морская свинка. This derives from the Middle High German name merswin. This originally meant "dolphin" and was used because of the animals' grunting sounds (which were thought to be similar). Many other, possibly less scientifically based explanations of the German name exist. For example, sailing ships stopping to reprovision in the New World would pick up stores of guinea pigs, which provided an easily transportable source of fresh meat. The French term is cochon d'Inde (Indian pig) or cobaye; the Dutch call it Guinees biggetje (Guinean piglet) or cavia (while in some Dutch dialects it is called Spaanse rat); and in Portuguese, the guinea pig is variously referred to as cobaia, from the Tupi word via its Latinization, or as porquinho da Índia (little Indian pig). This is not universal; for example, the common word in Spanish is conejillo de Indias (little rabbit of the Indies). The Chinese refer to them as 豚鼠 (túnshǔ, 'pig mouse'), and sometimes as Netherlands pig (荷蘭豬, hélánzhū) or Indian mouse (天竺鼠, tiānzhúshǔ). The Japanese word for guinea pig is "モルモット" (morumotto), which derives from the name of another mountain-dwelling rodent, the marmot; this is what guinea pigs were called by the Dutch traders who first brought them to Nagasaki in 1843. The other Japanese word for guinea pig, using kanji, is tenjiku-nezumi (天竺鼠, or てんじくねずみ), which literally translates as India rat. The origin of "guinea" in "guinea pig" is harder to explain. One proposed explanation is that the animals were brought to Europe by way of Guinea, leading people to think they had originated there. "Guinea" was also frequently used in English to refer generally to any far-off, unknown country, so the name may simply be a colorful reference to the animal's exotic appeal. Another hypothesis suggests the "guinea" in the name is a corruption of "Guiana", an area in South America. A common misconception is that they were so named because they were sold for the price of a guinea coin; this hypothesis is untenable, because the guinea was first struck in England in 1663, and William Harvey used the term "Ginny-pig" as early as 1653. Others believe "guinea" may be an alteration of the word coney (rabbit); guinea pigs were referred to as "pig coneys" in Edward Topsell's 1607 treatise on quadrupeds. The guinea pig was first domesticated as early as 5000 BC for food by tribes in the Andean region of South America (the present-day southern part of Colombia, Ecuador, Peru, and Bolivia), some thousands of years after the domestication of the South American camelids. Statues dating from circa 500 BC to 500 AD that depict guinea pigs have been unearthed in archaeological digs in Peru and Ecuador. The Moche people of ancient Peru worshipped animals and often depicted the guinea pig in their art. From about 1200 AD to the Spanish conquest in 1532, selective breeding resulted in many varieties of domestic guinea pigs, which form the basis for some of the modern domestic breeds. They continue to be a food source in the region; many households in the Andean highlands raise the animal, which subsists on the family's vegetable scraps. Folklore traditions involving guinea pigs are numerous; they are exchanged as gifts, used in customary social and religious ceremonies, and frequently referenced in spoken metaphors. They also play a role in traditional healing rituals by folk doctors, or curanderos, who use the animals to diagnose diseases such as jaundice, rheumatism, arthritis, and typhus. They are rubbed against the bodies of the sick, and are seen as a supernatural medium. Black guinea pigs are considered especially useful for diagnoses. The animal also may be cut open and its entrails examined to determine whether the cure was effective. These methods are widely accepted in many parts of the Andes, where Western medicine is either unavailable or distrusted. Spanish, Dutch, and English traders brought guinea pigs to Europe, where they quickly became popular as exotic pets among the upper classes and royalty, including Queen Elizabeth I. The earliest known written account of the guinea pig dates from 1547, in a description of the animal from Santo Domingo; because cavies are not native to Hispaniola, the animal was earlier believed to have been introduced there by Spanish travelers. However, based on more recent excavations on West Indian islands, the animal must have been introduced by ceramic-making horticulturalists from South America to the Caribbean around 500 BC, and it was present in the Ostionoid period, for example, on Puerto Rico, long before the advent of the Spaniards. The guinea pig was first described in the West in 1554 by the Swiss naturalist Conrad Gessner. Its binomial scientific name was first used by Erxleben in 1777; it is an amalgam of Pallas' generic designation (1766) and Linnaeus' specific conferral (1758). The earliest known European illustration of a domestic guinea pig is a painting (artist unknown) in the collection of the National Portrait Gallery in London, dated to 1580, which shows a girl in typical Elizabethan dress holding a tortoise-shell guinea pig in her hands; she is flanked by her two brothers, one of whom holds a pet bird. The picture dates from the same period as the oldest recorded guinea pig remains in England, which are a partial cavy skeleton found at Hill Hall, an Elizabethan manor house in Essex, and dated to around 1575.
From Wikipedia, the free encyclopedia
The Eras Tour 2023
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The Eras Tour 2023
Soldier Field
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June 2nd, 2023
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#AppsForMyPC #PaidApps, #TopSelling : Glim - Icon Pack for PC Free Download on Windows 7/8/10/XP and MAC PC
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Banff, Alberta.
A small snowman which has lost its eyes, mouth and nose stands forlornly on Mount Norquay above the town of Banff during a full moon.
Actually I had fun. Photographers from Banff were at the Norquay lookout for the full moon and had the best spots. I talked to them a little and realized they were trying to duplicate a topselling postcard. I let them have their space and found my own spot on the side of the mountain. It was too dark (and too steep) to set the camera straight so I have rotated the image for display.
The Eras Tour 2023
Soldier Field
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All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
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The Eras Tour 2023
Soldier Field
Chicago, IL
June 2nd, 2023
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Darling skirt will keep you and others smiling.
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The historie of fovre-footed beastes : describing the true and liuely figure of every beast, with a discourse of their seuerall names, conditions, kindes, vertues (both naturall and medicinall) countries of their breed, their loue and hate to mankinde, and the wonderfull worke of God in their creation, preseruation, and destruction : necessary for all diuines and students, because the story of euery beast is amplified with narrations out of scriptures, fathers, phylosophers, physitians, and poets ... / collected out of all the volumes of Conradvs Gesner and all other writers to this day, by Edward Topsell
London 1607/8
Printer William Jaggard
NLA RBq 599 T679
troybooks.co.uk/a-witch's-natural-history.html
CHAPTER 10:
THROUGH THE LYCHGATE
Hans Holbein’s engravings of The Dance of Death (1538) have always struck me as a sort of macabre Tarot. From one vignette to another, the semi-decomposed personification of Death comes to all conditions of men and women: the little child snatched remorselessly from beside the hearth; the quack physician abducted with his flask of urine; the nun swept away as she kneels at her devotions whilst her boyfriend strums a lute; the miser purloined from his counting-house; the king devoured at his table; the pope deprived of his tiara as a king kneels to kiss his feet. Death leads a blind old man into the churchyard, directing him straight towards his yawning grave. His skull wreathed with foliage, Death capers off with a hunch-backed old woman whilst another skeleton pounds on a xylophone. Towards the end of the sequence, the skeletons gather at the cemetery to celebrate in a throng, blowing on trumpets and beating on tympani with drumsticks made of long-bones. Finger-bones, ribs and skull fragments lie scattered on the ground, just as they do in the churchyard in my village*, which was recently dug up for a drain. Behind them is a lychgate – literally, the corpse-gate, where the body lies in its coffin awaiting burial – the entrance to the churchyard. To pass through it is to pass under the shadow of Death; taken seriously on Samhain night, it is a sabbat-journey into the land of shadows and shades.
The full moon is obscured by the great yew to your left. Raise your lantern to it. Coolness seems to emanate from it as its dark fingers reach towards you. Nothing grows beneath it but its toxic companions, ivy and dog’s mercury, which are scrawled across the red and powdered earth; grass withers beneath it, for all parts of the yew are poisonous, apart from the sugary red fruits that hide the seeds. The great bole’s girth grows branches, each of them tree-trunk thick, all bristling with half-started shoots. Sit beneath the yew, and the needle-scattered roots envelop you. Great tufts of red twigs, peppered with fallen fruits, nut hard, and browned needles are piled like ants’ nests. The green curtain of the foliage looks black by night, hanging almost to the ground. Folklore insists that the skulls of the dead are grasped underground by the roots of the yew, and the eye-sockets are occupied once more with living tissue. In his poem, ‘Transformations’ Thomas Hardy recognised the great pagan truth that lies behind such lore:
Portion of this yew
Is a man my grandsire knew,
Bosomed here at its foot:
This branch may be his wife,
A ruddy human life
Now turned to a green shoot.
Nevertheless, the nineteenth century Dream Book of Zadkiel says that if you dream of sitting beneath a yew, you have foreseen your own death. In the lantern light, the trunk seems to be splashed with specks of blood, turned ruddy brown. Fallen bark and needles ply the soil: dried warrior blood, woad and ochre, draining through the ground. Dream that you stand before a yew, says Zadkiel, and you shall live.
Come out from beneath the yew, and walk along the path that leads through the gravestones beside the church. A kestrel, roosting on a ledge half-way up the wall, twitters at you uncomfortably, but does not fly. A bat dodges past you, inches from your head, and moments later returns, as if tracing some arcane moebius strip through the air. Perhaps it is a Pipistrelle which has flown down from its daytime roost in the bell-tower. At any rate, you are lucky to see it, for the Pipistrelles are flying with less enthusiasm now that the autumn nights have lengthened, although their hibernation is less profound than species such as the Barbastelle. Daubenton’s bat, which also frequents this churchyard, attracted by the stream beneath the willows beyond, has been hibernating since the end of September. The ancients were long confused by the nature of bats, being unable to decide whether they were beasts who flew like birds, or birds who wore fur and suckled their young. Aesop regarded the night-flying of the bat as a punishment for its duplicity in the war between the birds and the beasts, when it kept switching sides, and was ultimately shunned by both tribes and relegated to the darkness. In another fable by Aesop, a bat is twice attacked by weasels. The first weasel informs the bat that he eats only birds, whereupon the bat tells him he is a mouse, and is released. The second weasel specialises in mice, and is duly informed that his captive is a bird. Across the globe, the Cherokee tell the tale of a great ball game between the beasts and the birds. Rejected as team-members by the beasts because of their diminutive size, two mice climbed a tree and asked the eagle whether they could join the birds’ team. The birds used a drum-skin to fashion wings for one, transforming it into a bat, whilst its companion was turned into a flying squirrel, and the bat’s skill in aerobatics helped him to score the winning goal. For this reason, invocations to the bat and the flying squirrel are made by Cherokee lacrosse players in the ritual dance which precedes the game. Back in Europe in the early seventeenth century, the playwright Ben Jonson theorised in Catiline that “A serpent, ere he comes to be a dragon,/ Does eat a bat”. Other folk tales about bats are darker in tone. The Mordvines of Russia make the bat an ally of Satan in his attempt to make a living human from the sand and mud of seventy-seven different lands. Unable to breathe life into the body he had created, Satan sent the bat to steal the towel of the Almighty, with which he rubbed the homunculus, bringing it to life. For its role in this caper, the bat was deprived of the feathers on its wings, and given a leathery tail and feet like Satan’s; whether these were punishments or badges of honour is a moot point.
Indeed, Western traditions have consistently associated bats with the supernatural and the diabolical. A number of features of the bat’s biology may explain this. Their nocturnal habits and uncanny ability to navigate in darkness have long been a source of wonder. Their rather humanoid looking faces, with elaborate facial appendages or ears equipped with a spearhead-shaped tragus (both of which seem to assist them in echo-location), combined with their paired breast-nipples, may make them seem like parodies of humanity. They may be demons, or they may, as in the Odyssey, be the shades of the dead, fluttering and gibbering in the night. In Sicily, they are specifically the souls of those who have met a violent death, whereas in Ovid’s Metamorphoses, they are the descendants of the daughters of Minyas, Alcithoe and Leuconoe, who were turned into bats because Bacchus was enraged by their refusal to attend his orgies. Their tapestries transformed into ivy, and “they were lifted/ On no great mass of plumage, only on wings/ So frail you could see through them”. Because bats are watchful by night (their eyes contain rod cells in profusion, but no cone cells, so that they cannot see colours), they have often fallen victim to crude sympathetic magic, finding themselves nailed alive to doors or window-frames to ward off evil, or hung in sheepfolds, as recommended by Pliny, to keep away wolves and other marauders. Pliny also attested that a woman could be made more pliable to seduction if a clot of bat’s blood were placed under her pillow, a spell which was presumably ineffective if she was in the habit of plumping her pillow before sleeping on it. Albertus Magnus was fond of smearing his face with bats’ blood in order to assist him with nocturnal divinations, whilst Gesner warded off demons with the mere image of a bat, engraved – unfortunately - on rhinoceros horn. A Tyrolean gypsy who wishes to be invisible may carry the left eye of a bat in his pocket. It is to be hoped that the modern witch would have greater sympathy with Lady Jacaume than with any of the former - burned for witchcraft in Bayonne in 1332 on the grounds that neighbours had observed a throng of bats frequenting her house and walled garden – or with a Chinese tradition that a person who kills a bat will go blind. The gloriously erotic kitsch of Luis Ricardo Falero’s nineteenth century paintings of voluptuous witches in flight by moonlight, in the company of beautiful silhouetted bats may also deserve to be back in vogue.
Of still greater folkloric significance is the bat’s habit of sleeping head downwards by day, almost completely encapsulated (especially in the case of Horseshoe bats) in their leathern wings, like corpses in suspended coffins. A beautiful Latin passage by the ornithologist Aldrovandus (1681) describes the river Nyctipotus, which flows past the Isle of Sleep. This is inhabited only by bats who roost in giant mandrakes and poppies the size of trees; both plants have long histories as narcotics and anaesthetics. The deathlike sleep of the bat, which is still more profound when the animal’s metabolism shuts down during hibernation, may also have fostered its association with European vampires. Although bats had long been used as symbols for the demonic in mediaeval art, culminating in their association with cannibalistic witchcraft in Goya’s painting Conjoro (1798), their specific relation to vampires grew after the Conquistadors encountered true blood-sucking vampire bats in South America. It seems an uncanny coincidence, therefore, that recent medical scholarship has come to suggest that our western vampire legends were inspired by the observation of human victims of rabies, a horrendous disease of the central nervous system which is still almost always fatal if not treated before the symptoms arise. In the journal Neurology in 1998, Dr Juan Gomez-Alonso listed the symptoms of rabies in humans: hypersexual behaviour, insomnia, hypersensitivity to strong stimuli including aromatic smells such as garlic, aggressiveness and tendency to bite other people, facial spasms causing baring of the teeth, and frothing at the mouth caused by an inability to swallow fluids - characteristics which are in common with the Eastern European vampire tradition. Death by shock and asphyxiation, which is common in rabies patients, inhibits the clotting of the blood, neatly accounting for the long-dead bodies which spurted blood when a stake was driven through the heart. The Hungarian vampire frenzies against which the Empress Maria Theresa legislated so rationalistically in the eighteenth century may have been fuelled by the rabies epidemic which raged throughout the country between 1721 and 1728. Dogs and wolves were implicated as the main vectors, but the fact remains that all species of bat, not just vampires, can act as carriers, and because their teeth are tiny, their bites are often undetected. Rabies can also be spread to humans in aerosol form if they enter bat roosts. Such considerations may seem rather recondite on a cold night in October, but you are in the right place to be meditating upon them: to this day, rabies continues to cause 30,000 deaths a year worldwide, and whilst Britain is almost completely free of the disease, the most recent fatality here occurred in Scotland in 2002, when a conservationist was bitten on the finger by a bat. He would doubtless be the first to urge us not to visit our revenge for this accident of nature upon the bats themselves, who suffer as badly from the disease as its human victims.
The creeping cold arouses you from your bat-induced reverie. There are rustlings in the long grass as you wend your way between the older, lichened tombs. It is unlikely to be a hedgehog, for these have mostly found their way beneath wood-piles, ready for their winter hibernation – a good reason for shifting the logs before lighting the bonfire on the 5th of November. Perhaps it is the shrews, who are active throughout the winter, desperately sniffing out whatever insects, grubs or snails they can find in order to maintain their rapid metabolisms. Many of them die off as the weather grows colder; you may see one stagger out onto the path in front of you in the light cast by your lantern. It is surprising how few witches have claimed a shrew for a familiar: perhaps it is because shrews die too easily from sudden shocks. They certainly have one extraordinary characteristic to recommend them. Topsell, in his Historie of Foure-Footed Beastes (1607) claims that the shrew “is a ravening beast, feigning itself gentle and tame, but, being touched, it biteth deep, and poisoneth deadly”. This observation was long thought to be an old wives’ tale – but as is so often the case, the old wives were right all along, for experiments in the 1940s demonstrated that the tiniest quantity of extract from an American shrew’s submaxillary gland was sufficient to kill a mouse. Shrew poison has similar effects to cobra venom, slowing the heart rate, lowering the blood-pressure and causing respiratory failure, but it also has painful localised effects similar to those of a viper bite: a burning sensation followed by shooting pains up the affected limb. In fact, the innocent little insectivore carries a poison every bit as baleful as the yew you passed on the way into his domain.
Alternatively, the rustlings may be caused by rodents: perhaps a long-tailed field mouse or two are cavorting amongst the nettles. These beady-eyed little creatures truly are harmless, but they have on occasion been confused with the Devil himself. In Devon in the 1860s, a great stir was caused when the “Devil’s hoof-marks” were discovered in the snow, running along the ground for an estimated hundred miles, and even traversing roof-tops and haystacks. Great consternation was caused by the discovery that the tracks went right up to a stone wall, and then recommenced on the other side, as if the Devil had dematerialised and walked straight through it. This vexing mystery was not solved until 1964, when Mr Alfred Leutscher suggested that the hoof-marks were actually the impressions left by the long-tailed field mouse, as it leapt through the snow. When the mice leap, they “leave a U-shaped impression, 1½ by 1 in., at 8 in. intervals, precisely the dimensions recorded for the trails seen in south Devon in February, 1855.” Wood mice, as they are also known, are also architects, constructing little cairns of stones above their burrows.
A mist is descending, and at times it seems to take corporeal forms as you pass the church and walk with your lantern swinging at your side, down into the darker parts of the churchyard which border the stream. Here, the grass has been allowed to grow much longer, and ivy festoons the crumbling monuments. The waist-high plant whose broad leaves have not yet withered in the frost is Belladonna, the Deadly Nightshade – whose leaves and berries are one of the principal ingredients of witches’ flying ointments. A fifteenth century source attests that “The vulgar believe and the witches confess, that on certain days and nights they anoint a shaft and ride on it to the appointed place or anoint themselves under the arms and other hairy places and sometimes carry charms under the hair.” When sparingly applied to the skin, the hallucinogenic alkaloids in Belladonna cause fibrillation – the sensation that one is flying – although ingestion is frequently fatal. An inquisitorial investigation into witchcraft in 1324 reports on one unfortunate adherent of the craft: “We rifled the lady’s closet. There we found a pipe of ointment, wherewith she greased a staff, upon which she ambled and galloped through thick and through thin.” Had she possessed a cauldron big enough to warm the water, she would no doubt have had a hot bath before applying the ointment, in order to open the pores of the skin, and aid absorption. In 1589, Porta, a friend of Galileo, went so far as to describe the effects of using Belladonna as an ointment, saying (to paraphrase loosely): “I am the grease-bird, eating grass; goose like I shall peck upon the ground. I shall become fish-fingered, fin-handed, fling out my arms and fly underwater; I shall float up and fly down, ‘ere I die.” It is oddly appropriate that the Deadly Nightshade is the food-plant for caterpillars of the Death’s Head Hawkmoth.
Search further with your lantern, into the darker places. The plant with hairy, jagged leaves is Henbane, another member of the Solanaceae. Earlier in the year, its funnelled flower-heads looked like veined flesh, drooping with their own deep narcotic, their pistils like licking tongues; now its berries shrivel in the cold. In less enlightened times, Henbane was used as a pain killer, and was dubiously employed in fighting tooth decay. The normally quite astute naturalist John Ray described its use in 1660: “The seed of Hyoscyamus placed on a coal gives off a smoke with a very unpleasant smell: when passed through the mouth and nostrils by a tube it drives out small worms which sometimes grow in the nostrils or the teeth. They can be caught in a basin of water so that they can be seen better.” The existence of these worms is attested by several other authorities, but dismissed by John Gerard, the herbalist, who described henbane-administering dentists as “mountibancke tooth-drawers”. Like Belladonna, Henbane was added to flying ointments, and it was said that storms could be raised by throwing a portion of the plant into boiling water. Jon Hyslop and Paul Ratcliffe have more recently provided a recipe for raising spirits of the night by burning the herb with frankincense, fennel, cassia and coriander with black candles on a stump in a dim wood. “To be rid of them,” they add, “burn Asafetida and Frankincense.”
Other sabbat herbs may well grow in these far corners of the churchyard, which, it is satisfying to fancy, were once unhallowed ground. The hollow stems and umbel-shaped seed-heads of hemlock loom at head-height in the mist, although their characteristic purple spots and warning mousey smell may have departed by now. Socrates died drinking an infusion of this herb; a not unsuitable end, as Robert Graves once suggested, for a man who philosophised that trees and fields taught him nothing: men did. Germanic folklore maintains that toads gain their toxicity through sitting under hemlock plants and letting the dew drop onto their skin. The Greater Key of Solomon advocates that the blade of a sorcerer’s black-handled ritual knife should be tempered in hemlock juice and the blood of a black cat.
Another poisonous plant, the foetid Hellebore, may also grow in the churchyard, perhaps where it has been planted over a grave. Classical tradition relates that the shepherd Melampus first realised the medicinal qualities of Hellebores, curing the daughters of Proteus of their mental afflictions by giving them the milk of goats which had eaten the plant. Hellebores have also long been a folk remedy for worms, and a highly efficacious one at that, save for the fact that the poison often kills the patient as well. Dioscorides recommended describing a circle around the plant with one’s sword before harvesting it. No bird must fly, and no sparrow make a sound, as one is plucking it, or the herb will be more poisonous than efficacious. Here, too, the dusty-leaved Wormwood – notorious as the active ingredient in absinthe - may grow. Cheiron, the healing centaur, first received Wormwood from the hand of Artemis, and dispensed the juice of it in crystal phials as a vermifuge and febrifuge. It is convenient that it grows here, since folklore has it that it is also an antidote to the insidious venom of the shrew. Another pharmaceutical wonder-plant, the foxglove, would have flowered here in the spring and summer. It is the source of the heart-stopping poison digitalis, which is used in measured doses to treat heart conditions to this day. It was used in the treatment of dropsy by a Shropshire wise-woman, Mrs Hutton, in the eighteenth century, but her secret was stolen by Dr William Withering, who published it as his own discovery in An Account of the Foxglove and Some of its Medical Uses (1785).
A shade-loving plant, Enchanter’s Nightshade, grows under the trees beside the stream. It is named Circea after Odysseus’s one-time lover and near-nemesis. Unlike the other plants you have encountered, this plant, with its little hairy seed-pods, has no psychoactive, medicinal or poisonous qualities whatsoever, and its romantic-sounding name is belied by its alias: Falsehood. Of course, in the skilful hands of Circe, it may have turned men into pigs, or perhaps she was able to raise monsters from the sea by pouring out a decoction of it, as in William Waterhouse’s painting, Circe invideosa. Of greater use to normal mortals is the milky-white flowered milfoil or yarrow, which grows in great abundance throughout the churchyard. Pluck one of its highly divided leaves and look through it in order to see the fairies. Now, if you are single, search the headstones with your lantern. You are looking for the grave of a young maiden. Sibly says that you will need to return to this grave on the first hour of the morning, and pluck the yarrow that grows on it, saying, “Good morning, good morning, good yarrow/ And thrice a good morning to thee;/ Tell me before this time tomorrow,/ Who my true love is to be.” Break the yarrow into three sprigs, and hide it in either your shoe or your glove, and return to bed without saying a word to anyone, and you are guaranteed to see your future lover in a dream. Given that it is Samhain, however, and you are here on a different quest, you had perhaps better save this frivolous piece of divination for another time.
There is one more plant, reviled by horse-owners but beloved of witches, which you must seek before your moonlit odyssey is quite complete. Its yellow flowers have now mostly gone to seed, and many of these have been carried off in the wind. Its leaves have been stripped to skeletons by the yellow and black caterpillar of the cinnabar moth, but it ought to still be quite serviceable for your purposes. Uproot the ragged Ragwort plant by the light of your lantern, for it is of little use to you in the ground: it is as a faerie-steed that the plant has earned its place in witch-lore. Both Burns (1785) and Henderson (1856) affirm that fairies and witches alike make use of it: “On auld broom-besoms, and ragweed naigs,/ They flew owre burns, hills and craigs.” Grasp the stem firmly in both hands, and hold it between your legs. Somewhere in the distance, a fox rasps his backwards, steamy bark into the night. Across the stream, a roebuck has paused, and is watching you intently, quite unafraid. From the church tower, a barn owl screeches, her voice the trumpet-call of Death, and all at once, you are above the earth, ascending by horse and hattock through the sabbat-black sky, and the bat flies by your side, the lychgate far below.
From "The History of Four-Footed Beasts and Serpents" by Edward Topsell (1658). David M. Rubenstein Rare Book & Manuscript Library.
From "The History of Four-Footed Beasts and Serpents" by Edward Topsell (1658). David M. Rubenstein Rare Book & Manuscript Library.
From "The History of Four-Footed Beasts and Serpents" by Edward Topsell (1658). David M. Rubenstein Rare Book & Manuscript Library.
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From "The History of Four-Footed Beasts and Serpents" by Edward Topsell (1658). David M. Rubenstein Rare Book & Manuscript Library.
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Lore of the Cat
A Mystical History of Catdom
"Thou art the Great Cat, the avenger of the Gods, and the judge of words, and the president of the sovereign chiefs and the governor of the holy Circle; thou art indeed...the Great Cat." ~ Inscription on the Royal Tombs at Thebes
The White Cat
Most people who readily admit that they "adore" cats would be shocked if one took them literally. The cat has, however, a disdainful aloofness, a quality of meditativeness and inscrutability which has often been mistaken for divinity.
The Deity: The only fully developed cult of the cat existed in Egypt and it lasted over two thousand years. No one knows when the Egyptian cat was first sanctified, and it was never officially considered to be divine. But such a distinction was too subtle for the general public, and Egyptian art provides ample evidence that the Egyptians treated these sacred animals as gods.
The cat was considered very early on to be sacred to the Egyptian goddess Isis. It gradually came to be recognized as an incarnation of deity, and it was as the daughter of Isis and her husband, the sun god Osiris, that the great cat goddess Bastest (Bast or Pasht) emerged. Egyptian gods and goddesses have a confusing way of merging into one another, and it is important to remember this in considering myth and ritual with which Bastet is connected. For instance Osiris, Horus, Ra and Ptah were all different forms of the sun god. Isis merged with Hathor, the cow goddess, and with Mut, the Theban mother goddess. Osiris, Bastet's father, was not only a sun god but also a moon god and god of the underworld; while Isis, her mother, was a sun/moon/earth goddess. The worship of Bastet overlapped that of Isis, Hathor and Mut, and also that of the lion goddesses, Tefnut and Sekhmet, according to the district and to which of Bastet's many aspects were being stressed. The cat goddess had a solar son, Nefertem, by the sun god, Amen-Ra, and Khensu, the lunar god, was her son by Ptah.
At the time when the Egyptian gods were taking form, the wild cat was venerated for its ferocity and rapacity - qualities which it shared with the lion. And Bastet was originally lion-headed, like the goddesses, Tefnut of Heliopolis and Sekhmet of Memphis with whom she has so often been confused. Although it was in her later cat-headed form that Bastet became so immensely popular, she never ceased to be worshipped as a lion-headed deity, the two forms existing concomitantly through the last thousand years of Egyptian paganism.
The earliest known portrait of Bastet was found in a temple of the fifth dynasty, about 3000 BC. She is revealed as a lion-headed goddess who was honored as "Bastet, Lady of Ankh-taui." One of the earliest pictures of a cat-headed Bastet is in a papyrus of the twenty-first dynasty, now exhibited in the Cairo Museum. The center of the cult of the cat was at Babastis, which was situated east of the Nile Delta. Consequently, Bastet was known as the "Lady of the East" - Sekhmet bearing the title "Lady of the West." Bastet was worshipped, among other goddesses, in the temple at Bubastis as early as the twelfth dynasty, but it was not until a thousand years later that this goddess really came into her own.
In the twenty-second dynasty, about 950 BC, Bastet took precedence over all other goddesses. She was known as "The Lady of Bubastis" and became an immense power in Egypt. King Osorkon II built a magnificent festival hall in Bubastis and dedicated it to Bastet. A relief found on the walls of the sanctuary showed the king endowing the goddess thus: I give thee every land in obeisance, I give thee all power like Ra.
The temple of Bastet has been vividly described by the historian Herodotus, who travelled in Egypt about 450 BC. It stood in the center of the city of Bubastis and was virtually on an island, since it was surrounded (except at its entrance) by canals from the Nile, which were a hundred feet wide and overhung by trees. While the foundations of the surrounding houses had been raised, the temple remained on its original level so that the whole city commanded a view down into it. The temple was a splendid building in the form of a square, and was made of red granite. Stone walls carved with figures surrounded the sacred enclosure, which consisted of a grove of very tall trees within which was hidden a shrine. In the center of the shrine was a statue of Bastet, the cat goddess.
Little is known of what form the rites of the cat goddess took. They probably included processions, litanies, antiphonal singing, invocations, revelations of sacred images and sacrifice. "Divine" cats were always to be found in the shrine of Bastet, for it was as this animal that the goddess was incarnated. Sacred cats kept in her temple were ritually fed, and those who tended them were exempt from liturgical services. The British Museum exhibits wooden figures of girls, carrying cats or kittens, who are thought to have been temple maidens.
One of the principal Egyptian festivals was that held in honor of Bastet. Herodotus stated that, of all the "solemn assemblies," by far the most important and popular was that annually celebrated at Bubastis. He described how, in April and May, thousands of men and women set off on the pilgrimage in parties which crowded into numerous boats. Men played the flute, women a type of cymbal called crotala, and all joined in singing and hand-clapping. As they passed towns, the boats drew near to the banks and the women shouted bawdy jokes to those on the shore, often flinging their clothes up over their heads. This vulgar performance (presumably a form of ritual exhibitionism) was repeated at every town along the riverside and was a sign for those on land to start dancing and join in the festivities.
When the revellers arrived at Bubastis, they celebrated the festival of the cat goddess, sacrificing many victims and consuming vast quantities of wine. A military commander described how he brought out Bastet in procession to her barge at her beautiful feast. This may be a reference to a rite known as the "coming forth," in which the statue of a deity left its own sanctuary and was carried in procession to pay a visit to another god. It was believed that a goddess, immanuent in her statue, was entitled to pleasures and enjoyed a trip such as this, like humans. An inscription on a statue from Bubastis explains that the owner made excellent monuments before her that she might appear to be pleased in all her festivals.
Such was the popularity of the cult of Bastet that images of cats (her animal incarnation) abound in Egypt. Cats have been portrayed in every conceivable activity, sculptured in every material from gold to mud, and in every size from colossal to minute. In Thebes a number of tomb reliefs show cats beneath chairs.
A feature of the Ramesside period (about 1320 BC) was the satirical papyrus. These contained pictures of animals playing the parts of humans, ostensibly displaying their weaknesses and vices. The British Museum has one of the cat driving geese, offering palm branches to mice and fighting armies of rats.
It was during the Bubastite period, the twenty-second dynasty, that the cat cemeteries were laid out along the banks of the Nile. Digging in this area has produced bronze cat effigies and a profusion of cat amulets. The larger figures vary from peaceful, comtemplative cats, dignified and awe inspiring cats, to cats which have an ominous air about them. But all emanate vitality.
Bronze cats, which were made in temple workshops and sold at the stalls, were used as votive offerings at shrines. It is probable that they were worshipped by many people, and recognized as symbols only by the elect.
Little amulet figures of cats, pierced or ringed for suspension on necklaces, were found buried by the hundreds in cat graves, and also behind walls and beneath floors of houses and temples.
They were carved in gold, silver, amethyst, jasper, cornelian, lapis lazuli, agate, quartz, marble, glass, stone and faience; and the mellowed glazes shifted through brilliant blues, greens, yellows and soothing grays. They portrayed cats in every mood and position: mediatative cats, alert cats, crouching, prowling, walking and pouncing cats, and cats who appeared to be in full flight.
Some of these cats were featherweight, others strangely heavy for wearing around the neck. Among the heaviest, and also the most charming of the amulets, consisted of cats on columns. The columns, perhaps three inches in height, were classic in form and were usually made of faience. Often a single cat was poised majestically on high, but sometimes a couple of kittens snuggled together on the top.
Cats were used to decorate necklaces, rings, brooches and pins, and objects such as musical instruments and sceptres.
Although the cult of the cat was at its height during the twenty-second dynasty, it never dwindled during the next nine hundred years either in importance or in popularity. At the end of the Roman period, the image of the cat gradually faded, but it did so in company with those of all other animals, before the emerging image of Christ.
During the whole of Bastet's reign, household cats were treated with the greatest of respect. Many were bejewelled, and they were allowed to eat from the same dishes as their owners. Sick cats were tended solicitiously and stray cats were fed with bread soaked in milk and with fish caught in the Nile, then chopped up for them.
A story is told of how a Persian army once won a victory over Egyptians by taking advantage of their reverence for cats. The Persians were besieging an Egyptian fort when their king had the brilliant idea of ordering his soldiers to throw live cats over the walls. The defending troops apparently allowed the city to be captured rather than risk injuring the animals they knew to be sacred and which they half-suspected to be divine.
The Sun: Cats love basking in patches of sunlight. With his usual charm Topsell, the seventeenth century naturalist, explains his conviction that: The male cat doth vary his eyes with the sunne; for when the sunne ariseth, the apple of his eye is long; towards noon it is round, and the evening it cannot be seene at all, but the whole eye showeth alike. There are Chinese who believe that the size of the pupils of cats' eyes is determined by the height of the sun above the horizon and lift up their lids to tell the time by them.
The cat goddess, Bastet, was first worshipped as a form of the sun, which was the source and sustainer of life and light. Solar power belonged to the male principle and, although Bastet was conceived of as female, during the eighteenth dynasty she was often identified with her father who, in this case, was called not Osiris, but Ra.
The Egyptians believed that when the sun disappeared below the horizon every night, a combat of cosmic proportions took place in the underworld between Ra, the god of light, and Apep, the serpent of darkness. The battle was an eternal one - though the sun rose every morning having overthrown the serpent and chopped him into pieces - Apep was immortal and appeared with renewed avidity the following night.
The Egyptian Book of the Dead includes the Papyrus of Henefer who was a royal scribe of the nineteenth dynasty. Plate 3, a vignette from this papyrus, shows in the background a persea tree and in the foreground a cat with fiery eyes and bristling fur leaping on a spotted serpent and cutting off its head with a large knife. In another papyrus Ra, the sun god, asserts: I am the Great Cat which fought hard by the Persea tree, and the serpent was the devouring Apep.
It was believed that during a solar eclipse, a crucial battle was fought between the powers of light and darkness, and that the sun on whom the lives of the Egyptians depended was in the greatest possible danger. During this time mobs of people assembled in the streets shouting and shaking sistra (a kind of rattle) in an effort to spur on the celestial cat and to terrify the threatening serpent in their struggle beside the Tree of Life.
The central theme of the great epic poems, and the most vital of all heroic engagements, is that in which a man enters into combat with a terrifying monster. The divine cat, in his nocturnal struggle with Apep, takes his place among the solar heroes of all mythologies in their fights with various forms of the Devil.
From the cat's identification with the sun has arisen "cat's cradle," a name given to certain string games. Games played by two people, in which string is wound in patterns round their fingers, are still played all over the world. People in a primitive cultural stage know a great variety of string figures, many of which they use for purposes of sympathetic magic. The cat's cradle is often employed to control the movements of the sun. Members of Congo tribes make cradles of string to encourage the sun to rest from its blazing activities. Eskimos try to entangle the solar cat, for they play their string games after the summer solstice, hoping to hold the sun back from its winter setting.
Egyptians thought of the sun and moon as the eyes of Horus, their sky god. And although the power of the sun was of the masculine principle, the Egyptian word for "eye" was feminine. So Bastet, when she ceased to be identified with her father, was first worshipped as a lion-headed goddess who was described as the "flaming eye of the sun."
As a solar goddess Bastet was at her fiercest. She has been confused with Tefnut, the lion-headed goddess of the Old Kingdom who was known as the "Ethiopian Cat." Tefnut had migrated to Nubia, and she personified the cruel, searing heat of the equatorial sun; but Ra sent Thoth, the ape god of wisdom, to bring her back to Egypt. A faience amulet from Bubastis shows the feet of an animal trampling on captives, and it is inscribed: May Bastet give life and power.
This is not the role usually played by Bastet, even in her lion-headed form, for she was a twin of Sekhmet of Memphis and, whereas both goddesses represented aspects of the sun, Bastet was always considered to be the milder of the two. Sekhmet, "the Great Cat," and Bastet, "the Little Cat," as they were known, were worshipped in the temple of the sun at Heliopolis. Texts speak of Sekhmet as a warlike goddess. She was the "Powerful" and the "Fiery One" who emitted flames against the enemies of the gods, for she incarnated the fierce destructive heat of the desert sun. Bastet respresented that life-giving warmth of the sun which encouraged the growth of vegetation. A text refers to the solar goddess stating: Kindly is she as Bast, terrible is she as Sekhmet.
When people wanted a fierce goddess to protect them they called on Sekhmet; when in need of gentler and more personal help, they turned to Bastet. The Egyptian Trinity was known by the composite name of Sekhmet-Bast-Ra.
When Bastet is lion-headed it is very difficult, in the absence of inscriptions, to distinguish her from other lion goddesses. In coffin paintings, on temple walls and in papyri, the lion-headed Bast is usually portrayed with a uraeus (sacred asp) rising from her head, and carrying in one hand a sceptre and in the other an ankh. Occasionally she also bears a solar disk, but this is more commonly worn by Sekhmet. The ankh, a T-shaped cross with a loop at the top, was a symbol of life; the sceptre and uraeus were both emblems of royalty and the asps represented solar divinity.
At the British Museum there is a colossal sienite figure of a lion-headed goddess who is crowned with a solar disk and holds an ankh in her left hand. The statue is dedicated to a priest-king of Upper Egypt who was "beloved of Pasht." There was also a statue, now broken, of a cat-headed goddess with a headdress of sacred asps each of which was crowned by a sun. Little faience figures of a lion-headed goddess, with a cat seated at her feet, bring out the dual aspect of the sun goddess.
A study by Egyptologists found that there are ways in which the lion-headed Bastet could be distinguished from other leonine goddesses. When the uraeus/crown appears on its own, it is invariably a sign that its wearer is Bastet. The enthroned sistrum bearer is usually Bastet. Only Bastet and Thoth (god of wisdom) are carriers of the sacred eye. Bastet is often found wearing it in both her leonine and her cat forms. The scarab is a sign frequently engraved between the ears of lion- and cat-headed bronzes of Bastet. Apart from Bastet, the only scarab bearing deity is Ptah.
The scarab (sacred beetle) was sometimes depicted in a boat, with its wings extended and holding the globe of the sun in its claws. It was believed that the scarab was self-produced. According to Egyptian folklore, when the male beetle wants to procreate, he searches for a piece of ox-dung which he shapes into a ball and rolls from east to west propelling it with his hind legs. Having dug a hole he then buries the ball, which varies from the size of a walnut to that of a man's fist, for twenty eight days. On the twenty ninth day the beetle throws the dung ball into water, from which its young soon emerge. As the ball of dung was rolled along the ground, so did the sun mount up in the sky, roll across it and then disappear below the horizon. As life came out of the ball of beetle dung, so all life sprang from, and depended on, the sun. Thus the scarab became a symbol and even an incarnation, of solar deity.
The classical writer, Horapollo, maintained that there were three species of beetles and that one has the form of a cat and is radiated, which, from supposed analogy, they have dedicated to the sun - the statue of the diety of Heliopolis having the form of a cat - and from its having thirty fingers corresponding to the thirty days for a solar month. The scarab, with which the cat was so closely associated was an emblem both of the self-begotten deity who created the universe, and also of the world which he created, since the maternal dung was shaped in the form of the globe.
Scarabs made of gold, ivory, faience, stone or wood were later inscribed with the names of kings - combining solar power with the power of royalty. A cat would be drawn on a scarab, and its image was sometimes combined with the name of Bastet.
The solar Bastet could further be distinguished from Sekhmet by the fact that figures of the latter were often decorated with bracelets, armlets and anklets - an unknown experience for the lion-headed Bastet.
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The historie of fovre-footed beastes : describing the true and liuely figure of every beast, with a discourse of their seuerall names, conditions, kindes, vertues (both naturall and medicinall) countries of their breed, their loue and hate to mankinde, and the wonderfull worke of God in their creation, preseruation, and destruction : necessary for all diuines and students, because the story of euery beast is amplified with narrations out of scriptures, fathers, phylosophers, physitians, and poets ... / collected out of all the volumes of Conradvs Gesner and all other writers to this day, by Edward Topsell
London 1607/8
Printer William Jaggard
NLA RBq 599 T679
8"x8" swatch printed on Basic Ultra cotton.
Fabric, wallpaper, and gift wrap at :
www.spoonflower.com/fabric/2801236
The rhinocéros : Albrecht Dürer Rhinoceros woodcut, 1515
The rest of the work and colors of this design is made by me.
The rhinocéros is from a woodcut illustration from the book The history of four-footed beasts and serpents... by Edward Topsell, printed by E. Cotes for G. Sawbridge, T. Williams and T. Johnson in London in 1658.
visible at :http://info.lib.uh.edu/about/campus-libraries-collections/special-collections
The historie of fovre-footed beastes : describing the true and liuely figure of every beast, with a discourse of their seuerall names, conditions, kindes, vertues (both naturall and medicinall) countries of their breed, their loue and hate to mankinde, and the wonderfull worke of God in their creation, preseruation, and destruction : necessary for all diuines and students, because the story of euery beast is amplified with narrations out of scriptures, fathers, phylosophers, physitians, and poets ... / collected out of all the volumes of Conradvs Gesner and all other writers to this day, by Edward Topsell
London 1607/8
Printer William Jaggard
NLA RBq 599 T679