John Duncan, (1866 - 1945) Scottish Saint Bride, 1913 Scottish National Gallery, Edinburgh

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John Duncan, (1866 - 1945) Scottish Saint Bride, 1913 Scottish National Gallery, Edinburgh

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Cleansing Tools at the Autumn Equinox
Charge, cleanse, and protect
These storks,
These beads,
And those things upon which they do their duty.
In many of my rituals I use three main elements: salt, water, and bread.
There are several reasons to cleanse tools at the autumn equinox: to restore balance at this time of equal night and day, to reap the benefits of the season’s harvest and fold them back into the tools used during that harvest, to release like falling leaves and fading days anything no longer needed, and to prepare them for the new, more internal and introspective work of the dark half of the year.
Though I work primarily through a Slavic lens, these last few days I have felt a pull from my Gaelic grandmothers. Perhaps from digging through @jayeltontoro ‘s landscape photos from Aberdeenshire and realizing in conversation that three times great-Granny Jane was a neighbor (hailing from Invernnisshire). So to work in the idea of balance, I did this ritual in two parts with two personifications of the Gaelic divine feminine. The first half violent and energetic and the second half quiet and calm.
My intention in this ritual was three fold: to cleanse, to charge, and to protect.
Though I tend toward a gentle nature and gentle practice things in my life have been stagnant and I wanted to shake things up. So this time for water I waited until the first thunderstorm after the equinox to use the power of thunder, lightning and a hard rain to shake things up and to charge my tools with some serious energy. I invoked the Cailleach in this part of the working.
At the first drizzle, as the sky turned to charcoal and the wind picked up, I carried my two sets of beads and my two pair of stork scissors (one for my devotional embroidery and the other for harvesting and kitchen work) to the birch tree. I have been working with the birch this year, and chose it for its symbolism in both Gaelic and Slavic folklore for rebirth.
Cailleach Bheur,
Mother of Mountains,
Mother of Storms,
The sacred Three,
To save,
To shield,
To surround.
The salt,
The water,
The bread.
Charge, cleanse, and protect
These storks,
These beads,
And those things upon which they do their duty.
This morning,
This dawn,
Oh! This morning,
And every morning,
Each single morning.
This afternoon,
This midday,
Oh! This afternoon,
And every afternoon,
Each single afternoon.
This eve,
This night,
Oh! This eve,
And every night,
Each single night.
Amen.
(Adapted from a prayer/incantation in the Carmina Gadelica)
I left the tools nestled in twiggy branches near the bottom of the trunk overnight, through a tornado watch and pounding booms of thunder. In the quiet morning hours before there was even a sliver of light I broke through the tall wet, grass to the beloved birch carrying my ribín Bride to retrieve my tools.
Removing the wet beads and storks from the birch I wrapped them in St. Bride’s gentle protection. The ribín Bride goes by many names and is a bit of cloth or ribbon that is left out on the night of St. Bride (Jan 31st) for her to bless as she makes her rounds.
Ribín Bride left outside on St. Bride’s Eve earlier this year and my tools laid upon it in the wee hours of this morning.
I laid my tools out in the beautiful corner and placed a tiny candle in a shot glass (blue for Mother Mary and with fish scales for Christ Jesus) filled with resurrection salt (salt blessed in a personal ritual on Holy Saturday). I chose the salt for its symbolism of rebirth. I also utilized the home-made (by my hands) yeast bread in this second stage of the ritual representing energy and growth (see first photo).
I repeated the above prayer/incantation but this time addressed it:
Bride,
Bright Lady,
Lady of the Mantle,
I’ll now leave the tools in the beautiful corner until their first use. Which for Granny Lorraine’s rosary will probably be shortly—when I complete the first stir of the day of the wild fermenting muscadine wine and loop it around the top for blessings.
To any of my friends who follow a Gaelic path please be patient if my ramble down this path was at all clumsy. My Scottish and Irish ancestors don’t seem to call as often, so my knowledge is leaner.
New Celtic Deity unlocked:
Brigid, Goddess of Spring, Summer, artisans, farmers, blacksmiths and lovers.
Also called St.Brigid by Christians
Reference by Albanenechi
Brighid and Bee swarms: I will not molest the swarm queen, nor will the swarm queen molest me.
"Carmichael (1928), in his review of Scottish customs attaching to the Feast of Saint Brigit, speaks of what he calls 'a propitiatory hymn' sung to 'a serpent' which 'is supposed to emerge from it's hollow among the hills on St Bride's Day'. Some of the versions of the 'hymn', describe what emerges from a tom, 'the knoll', as rigen ran, 'a noble queen', and, on the basis of my argument hitherto, I take this to be a clear reference not to any serpent, but rather to the queen bee and, therefore, by implication, to Brigit herself.
La Bride nam brig ban On the day of Bride of the white hills Thig an rigen ran a tom The Noble Queen will com from the Knoll, Cha bhoin mise ris an rigen ran I will not molest the Noble Queen, 's cha bhoin an rigen ran rium Nor will the noble queen molest me.
By way of further support for this reading, an emendation of Carmichael's interpretation of a tom as 'the knoll' can easily be made, substituing for 'knoll', 'round heap', 'conical knoll', 'ant-hill', dictionary definitions of tom (Dwelly, 1918), one or all of which readily could be taken as referring to a bee-nest or bee-hive. Likewise, Carmichael's reading of rigen ran as 'noble queen' may also be open to an interpretation other than that offered by him here: the qualifying element ran, taken by Carmichael to be the adjective ran 'noble', constitutes a suitable soubriquet for a royal personage, to be sure, but it is also a word which might easily be confused with ràn meaning, among other things, 'melancholy cry', 'drawling, dissonant roar or cry' (Dwelly, 1918). Needless to say, the idea of a 'noisy' rather than a 'noble' queen slots in well with the tumult which accompanied swarming according to early writers (...)"
—Hearth-prayers and other traditions of Brigit: Celtic goddess and holy woman. Article by Ó Catháin (Séamas) in JRSAI 122 (1992), pp. 12–34.
it’s been a while since i’ve posted here (hi!), but life n all that was getting in the way. lately i’ve been thinking more seriously about paganism & reconstruction again, initially from a purely research point of view - i still don’t know everything that i feel like i need to know. but of course imbolc has just passed and i’ve been thinking about brighde more specifically, her story, the way people used to celebrate her day. & i was kind of thinking - what a perfect time for something to happen, some kind of sign, even…. not that faith requires a sign, but i thought of all the times to see or receive something, isn’t this perfect ?
and what do you know, as i was walking home today, i passed by a church named st bride’s church. big and beautiful and burning a candle that had been burning since the beginning of covid - light through the darkness. in their crypt, they had a small altar with brighde’s cross and i just knew, then. i asked for a sign and she sent me a whole church - i get the hint !!
i’m going to mark today by starting a very rough altar, i guess, and putting a lot more energy into researching her and the scottish pagan stories. i just wanted to share this somewhere and this was the best place for it !

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St Bride’s church
Just off Fleet Street and largely hidden from view, the spire of St Bride’s is said to be the inspiration for the traditional tiered wedding cake!
St Bride, by John Duncan (1866-1945)
Just collected a batch of firsts and seconds from Kate, Payhembury Marbled Papers, all ready to sell at The Designer Bookbinder Trade Fair at St Bride, London Craft Week, Saturday May 6th.