The Hammer of Hephaestus

"Hard to fight the Olympian strength for strength."

Hephaestus, The Rage of Achilles, p.IXV II 

And so it was that the journey continued onward, heading first north through the valley of forges. Many of which have long since been abandoned and left to ruin. A rocky, reeking, poisoned, narrow stretch of land, stained in the blood of iron itself, going on for miles. Hard to travel, harder still to capture.

It was in this vile valley where there lay an island of ivy beneath a high bridge, just to the east of the river. Into the ivy a concrete stairway with crescent moon landings and there at the top, silver and shining with a gleaming black handle lay the Hammer of Hephaestus which in its hard kindness brought brilliant color to the landscape.

Why north when the ultimate goal lay far to the south? Far down the river valley, beyond that great waterfalls where the Sisters of Fate dwell, far beyond the climb and deep into the forested ancient sea bed where the earth itself was ripped apart in some ancient battle with the elements and never ending pull from the heart of the earth. Why north? Why this wretched valley of iron and waste to claim a forgotten hammer of the lame God? 

"Hard to match the Olympian strength for strength." Hephaestus said. It would take more, much more and as the journey continued Zeus himself made it a point to have his attentions felt. Conjuring up day after day of thunderstorms and hard rains. But he had manifested the tempests too late, his move was seen before he had made it. 

North, beyond the iron valley of the forges, lay a long stretch of blessed green where garden after garden, full of fountains, flowers of every kind, and ancient trees represent the great nations of the world and the many cultures that came to tame this land. It is in the stretch of life where rests a garden crafted by Greece itself. 

Two Doric columns frame the garden's entrance, opening into a plaza containing a reflecting pool, offering a perspective on a wall and pylons, which symbolize the wall of the Parthenon. Stone tablets on that wall and pylons are inscribed with the names of prominent Greek artists, philosophers, writers, and scientists: Solon, Ictinus, Callicrates, Phidias, Aristophanes, Pericles, Euripides, Sophocles, Aeschylus, Homer, Praxiteles, Zeuxis, Apelles, Myron, Lysippus, Scopas, Sappho, Socrates, Anaxagoras, Aristotle, Plato, Aristarchus, Demosthenes, Pindar, Archimedes, Herodotus, Xenophon, Thucydides, Euclid, Hippocrates, Ptolemy, Pythagoras, Polycletus, and El Greco.

Framing the symbolic wall are two paths that encircle it, leading to sandstone terraces, lavishly planted with ilex, coloneastus, myrtle, and sweetbay, with cedars and Lombardy poplars giving the impression of cypresses. 

The Hammer of Hephaestus is to be taken there. It's strength combined with the sacred waters of the fountain and a three measures of the blessed waters taken. The first measure it to be brought back to the Altar of Hera as a votive offering. The second measure is to be used in an ritual anointing - to make the flesh strong, the will - hard as iron, and award strength as fierce as the Hammer of Hephaestus itself. The final measure is to be placed in the altar room until the final journey is to be undertaken. Cool, healing waters imbued with immeasurable blessings to aid in the quest.

The journey is taking us counterclockwise around the 60 mile radius of the stone votives circle cast last year. Symbolic of traveling back in time, relearning, gathering strength, increasing endurance, making amends for the past defeat. A test of the will, a test of the heart. Long, hard, exhausting. But not so much as the long path that lay behind - the year after year of this singular theme that began with something as delicate as a feather. 

A long way left to travel with every step in defiance of Zeus, weakening his ancient bond on Hera. Zeus takes note, sends forth his storms, thunder, and lightning. And with the coming of the torrents a crystal bowl, taken from the Altar of Hera is placed in the rain. A single measure for each storm cast - taken and placed bowl by bowl, storm by storm, into a sacred vase. Once full the waters taken from Zeus's storms will be combine with the waters taken from the garden fountain, transformed, turned into golden honey wine - lightning and thunder in a bottle. Seal with blood red hard wax and presented to Hera. 

The journey, the sacrifices, the votives, the recounting of the tale for the eyes of the world to witness old Gods on new streets - Hera grows stronger with each tribute and Zeus weaker with each step of defiance. His conjurings and manifestations shrugged off, claimed, bent and twisted to advantage. Cunning, peerless, unheard of in the modern age. 

A fitting end.

The Heraian - Heaven and Earth Masters Edition

The following video has been in the works for three weeks. The creation of this video involved 52 different clips, 50 separate transitions, 7 video length special effects, 6 spectrum filters (each taking at least 3 hours each for processing) and 12 minutes and 49 seconds of digitally enhanced mixed music that plays out in two chapters "heaven" and "earth".

The final video file turned out to be so complex that it took over 2 1/2 hours just to upload it to YouTube so that it could be shared in this High Definition CinemaScope format.

A major part of this video was filmed at a Greek temple garden during the "Master of the Arts" chapter of The Journeybook Series. I took a secret side run during the filming to get the clips to make this very video which I had already been planning for weeks prior. The temple gardens you will see in this video have become an important place for me to visit from time to time.

I had two goals in mind with this video. The first was to tell an unbelievable story in such a way that the story changes from viewer to viewer. Anyone who watches this video from start to finish is going to get a different message, a different story out of it.

The second goal is to offer a beautiful example of what one might be able to create and experience when they have devotion and focus within their spiritual path. In order to experience this kind of thing in full measure one must be able to relate to the idea of being devoted to something beyond reason. To not only have an interest but to fall in love with it to the point where everything beyond it seems pointless.

And above all else, you have to be able to respect the individuality of the Gods as singular, unique entities not much different than your fellow man.

It is from this perspective that such things are created, focused, and empowered. It is from this perspective that we might see old gods walking on new streets.

I consider this video no different than any of the hundreds of votives that decorate my altar room or the hundreds of pages worth of tales involving me and Hera. The journey, the time, the effort, the stress and frustration, the lessons in patience, that it took to create this particular piece were all part of the tribute to her.

And with that, it is my honor to share with the world this latest tribute to Hera, the tale, and the path.

Angel Snowden and the Altar of Hera

The Seven Mile Altar Stone (July 2, 2012)

Today I decided it would be a good enough day to go out hunting for more crystals in the river. Plotted out a course over a 10 mile stretch and set out for the hunt. I hit every island and beach I aimed for except the tow closest to home.

The reason for missing the last 2 islands: On the return journey I was already lugging over 70lbs of weight in 4 different bags. The bulk of which was from a single stone that took up all of the space in my back pack.

I retrieved the stone from an extremely bulky island that all but completely blocks the river, splitting it into two fast running streams on both side of the island. The island itself is a hill that is made from sand, gravel, and large water polished rocks of all sorts; only a few of which was of much worth to me.
Then there was this one stone. Heavy, flat, and perfectly polished. I wrestled with the notion of hulling it back knowing how impossible the task was going to be. I didn't even know for sure if the thing was going to fit in my backpack.
I dumped everything I had collected into my spare bag and tried to divide all the weight up as much as I could. Stuff this huge stone into my backpack not knowing if the weight was going to break the straps, or worse, my spine.
Once I got the weight situated I made my way to a shallow area of the river and walked across the water to the steep bank where I had to remove the bag, toss them up, and climb out before retrieving them and setting up again.

After that, it was a very long slow mile journey back home that included a climb up the western valley wall - a steep incline of over 200ft.

But the time I reach the top of the valley I was all but ready to call for help. it felt like my heart was about to fly out of my chest and I was getting tunnel vision. I sat down for a few moments and tried to calm myself down but I was overheating badly.

So, I forced myself to make it another block to a tiny little store that sets there near the top of the hill where I got a cold drink and took a few moments before weaving my way through the last few blocks home.

The things I found today are all huge in comparison to what I have gathered out there thus far. Including three pieces of anthropogenic glass bigger than my hand and in all of this...only one new crystal like the others I found.
I'll be taking some pictures of the new pieces once I get them cleaned up. At the moment I am still trying to recover from going just a little too far across the line today.

I almost have everything I need for a rebuilding of the altar room.
Almost.

Carving the Altar Stone (July 3, 2012)

In spite of the trials of the day I've stayed up to carve out the Altar Stone I collected from the river island earlier today. I may go back and add some finer detail but it is 1:15am now and I have already gone through 3 diamond tipped bits carving this stone.
The stone measures 16 inches wide and 5 3/4 inches tall.
I carved Hera's name on the raised back portion of the stone and encircled it with a basic vine pattern. Then, etched my name into the back of the stone. (Always sign your work. Otherwise, you won’t get credit 5,000 years from now when some archeologist digs it up.)
Tomorrow I will carve a votive prayer onto the bottom of the stone (which I will not be sharing).
This stone is to be used as the base for the altar statue which will rest on a 3ft high altar table at the center of the room aligned with the double glass doors leading into the living room.
The stone will be the first item placed into the newly designed altar room and then the rest built up around the stone. The statue itself will be the last item to be put into place.
The Goddess needs a temple before she can walk into it.

The Day of Storms (July 3, 2012)

At this very moment the altar room is nearly empty and almost ready for its detailed cleaning and scented water/oils wash down. And the wonderfully odd detail of the day: at the same time I began removing the items from the altar room a massive thunderstorm rolled in and it has been thundering loudly enough to shake the house ever since.
And me, I have the windows all wide open, harvesting the wind and rain, washing out the entire house with the power of the storm. Opened it all up and let it right in.
And the thunder rolls.
Think Zeus might be a little pissed that I stole his wife?

Let's piss Zeus off by using the rain water from the storm to wipe down the altar room instead of tap water.
Little rain, little essential oils, little stormy wind, and we have ourselves a nice clean room to start in.

Base Cleaning and Cleansing (July 3, 2012)

Now that every item has been removed from the altar room I get to the initial cleaning and cleansing part. As I mentioned in a previous post I gathered rain water to wash the room down in. To the rain water I added Spring Meadow, Apple Cinnamon, and Cinnamon Nutmeg oils to give the rain water a very natural and earthy scent.
Now, before washing anything with the scented water I used a portion of it to fill an spray bottle. This portion will be used to scent the carpeting, table cloths, the cushion of my moon chair, and the pillows.
I wanted to make sure to detail the base boards of the room because a lot of detail will be put into that area of the floor. All of the walls, woodwork, and the ceiling have all been cleaned with the scented rain water. (People almost always forget to clean their ceilings - the one place that collected more humid air than any other spot in a room, making it a breeding grounds for all sorts of nasty things.
After the detailed wipe down I cleaned all 10 windows that surround the room and the glass doors leading out. Then, I cleaned the carpet and sprayed it down with the bottle of scented rain water. I followed that up by opening all the windows up to flush the room with fresh, after a thunderstorm, air.
After the carpeting dried I then traced the entire room in salt. (The first boundary.)
And now the room is ready for the placement of the 3ft high altar table and the new altar stone I carved last night.
Once I have that set up I will head off to the kitchen where I will be washing every single item that will be going back into the room.

Setting the Stone and Votive Displays (July 4, 2012)

Now that the altar room has been prepped comes the placement of the altar table. The table itself is set into the center of the room. A focal point from both the outside as well as the inside. From the outside the altar can be viewed by passersby when the blinds are open to allow in sun/moonlight. Normally I leave the blinds open until I retire to bed unless the room becomes to hot in the afternoon. In which case, I shut the blinds and open the window so that Charlotte (my 11 year old tarantula) doesn't die from the heat.
Before the cloths and stone can be placed on the altar table it gets its own cleaning and a wipe down with pure essential oils. The oils will soak into the wood and their essence will be absorbed into the altar cloths.
I've used the same altar cloth now for a few years. This time however, I added a second cloth to cover the entire surface area of the altar table. The extra white cloth reflects a good deal of sunlight making the altar top appear to glow in the afternoon.
Once the altar stone is set and centered the backdrop can be built. When setting up an altar I have always held to the general notion of: Black on the left, White on the right. This offers a sense of realistic balance with the Goddess at the center of all that is good and bad. The backdrop begins with two floral arrangements. One light, one dark, both accented with peacock feathers and pomegranates with long thin extensions that nearly reach the ceiling and gold encrusted pear limbs.
Hera, contrary to popular uneducated bullshit, began her life as a Nature/River Goddess with the Spring Equinox being her birthday. Hence, the floral, earthy oils and arrangements. Pear wood was common in the temples as a material used to make her votives and there is a long standing connection between Hera and the Pomegranate - fruit said to be of the Underworld. Heroes would drink pomegranate juice before going into battle thinking it gave them a measure of immortality. And the gods fear the nectar thinking that it temporarily robs them of theirs. Some purpose that Hera used the potion on Zeus to weaken him before she set him in chains and began the Gods revolt against him.
Peacocks and lions are the "Um duahs" of a Heraian Altar, both being sacred to her. The peacock feather is important because it is a window of sorts. Anything within the view of the peacock feather's "eye" is known to Hera. And so the altar backdrop extends with a peacock on the left and a lion on the right. The lion standing upon a wooden case that holds a mummified rose wrapped in a peacock feather and covered in a bed of crushed lavender, lilac and sage.
Below the ever watchful lion, a crystal collection. Including the crystals gathered from the same river where the altar stone itself came from.
Above it all, "The Eye of Hera" (see archive) is suspended above the Greek styled altar light that sets in the center of the backdrop and is never turned off. The back-light is there to primarily illuminate the altar statue as well as keeping the room from being cast into darkness. The altar room is NEVER dark. Not even while we are sleeping. The light is to remain at all times. If the power goes out the room is then lit with special candles until the power returns.
Holding with the light/dark aspect of the left and right side of the altar - dark stones and votives are placed on the right side of the altar extending all the way to the corner with lighter stones and votives on the right (light) side.
The right/front corner of the room displays a Greek column with Pan and a fairy surrounded by river stones, incense, and feathers in an earth and air theme.
The left front corner of the altar room is decorated with my grandfather's cedar trunk holding frosted white, aqua, and blue anthropogenic glass, "Hera's Pearls" (milky white rounded quartz stones) and vials of herbs and oils. Accented with white candles and a photo backdrop. In this same corner I place "Hera's Scepter" - made of pear wood that was soaked in red wine for over a week to stain the wood and then crowned with a glossy red pomegranate. Near the top of the scepter Hera's name is carved into the wood.
The right front corner displays copper and 14k gold items that were handmade and imported from Greece and a Greek calendar.
The left front corner of the room is dominated by the spider tank that is laid out with a Greek vase, green glass, a golden clock face necklace, a green scrying glass, mirrors, and is crowned with an import piece of artwork known as "The Wings of Icarus". This display is still in the works and will hold to a Sisters of Fate theme.
Tonight I crafted two glass vases. One contains a large shell from the river surrounded by anthropogenic glass and a red ribbon. The other is of a peacock feather eye suspended in anthropogenic glass of various colors to accent the colors of the feather.
And now it grows dark. So, the altar room will be lit and shut up for the full moon night and we will finish setting the room up tomorrow. After everything is in its place the room can be sealed up and the cleansing, charging, and blessing of the new altar room can take place to prepare for the placement of the altar statue itself.

The Day of Fates (July 4, 2012)

The Sisters of Fate have been figures semi-hidden in my personal mythos for a very long time. Because I take so many different types of risk and so many of my life's tales have bordered on the irrational and unlikely outcome is the common manifestation the Sisters are always there for the logical conclusion of influence. However unlikely that conclusion may really be.
Within my relics collection is a large green glass scrying orb called "The Sphere of Time". In the past it was common for me to use this orb in meditation to follow threads of time down the most likely course of events. Having that ability did not go unnoticed however. Not even here where it has often been illustrated that I know how events and threads will unfold months before they actually take place. Even today I can offer insights, to those who ask, of what is likely to take place 6 months from now. How certain people will react to those events and be the one who manifests the very thing I spoke of, even if they try with all their will not to.
The essence of Time has always been something that lent a powerful energy to the current of Denian Tale. How things develop, who will (against the odds) come into the story, what will be treasured and what will be lost forever. The ability to see these threads borders on a type of scientific method. There is a specific way to do it and if not done correctly the prediction will simply prove wrong, every time.
Such oracle practices are all too common in the world, even today well beyond the pagan realms. The difference between now and the ancient world is that the people who practice these arts are rarely ever referred to as "Oracles" but instead as "Readers".
They use tarot, runes, meditations, and even mind altering drugs to do it. I use "The Sphere of Time".
For more than a decade now that very sphere has been kept inside a glass tank and treasured by a rose haired tarantula who is now the size of my open hand with 1/2 inch curved fangs, the ability to flick stinging hairs into your skin, and spin enough silk to cover everything inside her glass realm with silver silk in one spinning.
She prizes the Sphere of Time and has a habit of running to it after her tank is cleaned or if she hears a loud noise. The sphere has long been her one constant. The one thing that has always been there. She knows it and in that knowing she is comforted. She also attempts to spin her web over and around the orb in what I think is an attempt to keep it in its place.
In keeping with Time that tank also holds a clock-face medallion encrusted with crystals, laying on a small mirror. A piece that I have never worn before. It was gifted to me and has been inside the tank ever since. Now completely wrapped in spider silk and half buried in the sand.
Shards of green glass, the green orb, the clock-face medallion, my Golden Compass (used in The Journeybook Adventures) and a small green vase depicting the Sisters of Fate, this is the setting for the focal point of the front left corner of the altar room.
Above the tank "The Wings of Icarus" displayed as a constant reminder and warning of going too far, too fast.
Below the tank, items collected on my adventures. Many of them to be gifted, traded, and bartered away. Changing the course for others along the way. All symbols of intertwined Fate, physical manifestations there as proof that other lives and destinies are all part of the same story.
And below that still, the journals. hand written accounts of events as they unfold. The untold, unseen details of the Denian Myth. The greatest events in the entire tale included with dates and times that they happened. The unpublished record of everything done here past, present and future.
This is the work of the day. The final wall of the altar room. once finished and presentable I will go back over every display and altar the tiniest of details in them all. Stones to be turned a certain way to highlight their color, crystals turned to the sun to glimmer at different times of day. The lighting all set and balanced.
When the details are done and the room is set to standard it will be time to go up a bit higher.
Above the door leading into the altar room is a acroterion - A kind of crown that marks it from beyond the room as "sacred space". The acroterion for the altar room is an ornamental disk displaying my Heraian Shield Symbol with Hera's name inscribed on it. The acroterion is crowned by a peacock eye and is flanked with dry flowers leaning into the acroterion and two more peacock feathers leaning outward. Both sides of the doorway are flanked by free hanging ivy vines and a large vase of purple flowers sets in front of the right side doorway, which is normally always shut.
It is to all be cleaned, cleansed, and redesigned; which will require bringing out a ladder because our ceilings are just over 16ft high in the living room. (Add another 2 inches or so for the decorative molding)
Only after the acroterion is refinished can the room be prepped for another round of cleansing, smudging, and detailing. Once that clears, candles, oils, incense, and sage will be burned and the altar stone blessed. It normally takes about 3 hours to fully charge the room with elemental energies.
After which it will be sealed for a certain period of time. No one in, no one out as to altar room is allowed to balance itself out.
Once the balance is achieved we can then move on to cleansing, blessing, and placement of the Altar Statue.

Second Charging and Blessing (July 7, 2012)

After the detailing if the display in the altar room is completed comes the long process of blessing and enchanting the space - a ritual that takes days to complete. The reason it takes time is because it is done in layers of sort with each element having its own time and place in the room and multiple cleansing of the space done in various ways.
All ten windows are traced in a potion of oils and salt water with herbs and other things placed between the panes of glass. The carpet is treated again with oil scented rain water, sprinkled with salt, and quartz crystal dust. The walls and ceiling are treated with another washing of rain water, and and all 40 of the windows that make up the folding door entry way are also traced with pure essential oils both inside and outside the room.
The room is then allowed to rest and balance over night with the windows open to the night air.
The next day the altar stone is washed and detailed and candles are placed on both sides. Oil burners are filled but not lit. Incense and sage are lit throughout the day and into the twilight hour. At twilight the oil burners, candles, incense, and sage are all lit in unison and the room sealed up. It is to remain sealed until the candles in the oil burners and incense go out on their own. The sage will always go out more quickly. The candles lit on each side of the altar stone will remain lit throughout the process, being they larger candles.
The room remains sealed and filled with the scents and sage smoke, and flame to cleansing every item in the room.
Once the room has settled it can once again be opened to the night air and allowed to rest.
This process can be repeated for days until the space inside the altar room has a specific charge to it. The room is nearly set for the placement of the altar statue. But before the statue can be placed inside on the altar stone we must tend to the acroterion above the entry way and plan a morning procession to the river.
We will get to the acroterion, its history, design, appearances, and meaning in the next piece. Once we have the acroterion redesigned there will be one last blessing of the altar room where the double doors leading in will be left open for the process to merge the sacred space inside with the energies in the area just beyond the doors. I will tell you the reason why that is necessary when we discuss the acroterion.

The Acroterion (July 8, 2012)
The altar room in effect is now consistent with a type of cella. In Ancient Greek temples the cella is a room containing a statue representing the particular deity venerated in the temple. One major difference here is that the altar room is surrounded by windows, connecting it with the outside. A common temple cella had no windows. Here, the entire house and property might be considered the whole of the Temple. In addition the cella may contain a table or plinth for votives such as votive statues, precious and semi-precious stones, helmets, spears, arrow heads, swords and war trophies. The accumulated offerings made Greek temples virtual treasuries, and many of them were used as treasuries in the ancient world. And this we have achieved in detail within the altar room's design.
Now, we move beyond the altar room itself to take a look at the Acroterion.
One of the greatest muses in my Heraian Path comes from an ancient fragment that reads:

"With combed locks they would frequent the precinct of Hera, swathed in beautiful robes, their snow-white tunics sweeping the floor of wide earth. Golden cicada-like brooches surrounded their hair; their flowing tresses bound by golden bands, floated in the breeze, and intricately decorated bracelets encircled their arms...a shield-covered warrior." (Asois)

The last part of which has held my intrigue for some time because the line doesn't seem to fit with the rest of the recounting of temple wonder and the beauty of the priestesses. It is interesting to note that this Bronze Age description of the priestesses at the Temple of Hera is still reflected today with the dress of the priestesses who ceremoniously light the Olympic Torch as the Temple of Hera at Olympia, officially opening the Olympic Games.

This same fragment is what mused the design for my personal crest that is also the center piece for the Acroterion, along with the original peacock feather that was found in the central fountain in the Gardens of Lisocea that set me on my current path. The story of the discovery of the feather can be read at The Temple of Hera at DENIA.

Now, an Acroterion is just a fancy word for a decorative center piece that is placed at the apex or highest point of a Greek Temple in Classical design. Often these were based on a floral design but many different patterns and notions have come up in architecture around the world with the same principle in mind. The notion dates all the way back beyond 420 BC.

I took the classical note of floral design and blended it with the Asois fragment "a shield-covered warrior" to design my personal crest that is the crown of the altar room's Acroterion. I bordered the shield with peacock feathers, lily stems, threads of pine tipped with pearls, and dried flowers. Then, topped the shield with the original peacock feather. Handing down from the entryway one both sides of the Acroterion are free hanging ivy vines.

The entry way to the altar room is 10ft high from the crest of the Acroterion to the floor, the double glass folding doors take up 7ft of that space. When fully open the entry way into the altar room is 6 1/2ft x 7 ft leading into the living room where the altar statue and displays can be viewed while lounging around with the Acroterion there blending the two rooms, marking the altar room as sacred space, and on a more metaphysical note, project the energies of the altar room outward as I reflected in my new design with the peacock/floral pattern lending outward in a "bursting" pattern.

Inside the altar room, the altar itself also reflects this outward energy in its design with the angles of the edge displays and votives matched with the angles of the outward flowing Acroterion above the door. The combination of the two outward flowing designs offers a kind of "open arms" feeling to the entire scene, drawing one's eye to the altar itself as a focal point, and creating a welcoming feel. Follow all of the lines of both the Acroterion and the angles of the altar room displays and they all lead right to where the altar statue will set.
In the next piece we will be headed outside where tonight I am tending to another part of the altar room (that is also part of the over-all layout on the inside) and discover why it is important that the altar room be surrounded on the outside of the house by a flower garden - peacocks and all.

The Gardens (July 8, 2012)

Hera, long before she was raped by Zeus and married him to hide her shame, long before she was seen as the patron goddess of subservient wives and marriage, long before Zeus ever even came into prominent status in Greek society, was a Nature Goddess who's birth was on the Spring Equinox, tended to her own orchards where she grew the Golden Apples (a gift from Gaia, one of the Titans), as a River Goddess in respects to her place of birth on the bank of the Imbrasos River, as a prophetic Goddess who was able to influence the destinies of mortals as well as imbue them with great power as she saw fit, and as the Queen of the Sky and Starry Heavens.
Hera is a purely Greek divinity, and one of the few who, according to Herodotus, were not introduced into Greece from Egypt and antithetical to popular notion and incompetent would-be scholars should never be confused with, equated to, or remotely related to Juno, Isis, or any other Goddess. They do not share her birth, life, reign, spheres of influence, or nature.
Nearly every single Temple in Greece was built facing East/West so that it faced the rising sun. Here, the length of the altar room also faces East/West with the windows on both ends always open to bring in light from the rising and setting sun as well as keeping it open to the outside air which is scented by the flowers and herbs that surround the outside of the altar room all the way up around the windows.
In keeping with the movements of the sun and the Queen of the Sky aspect of Hera, each section of the surrounding gardens are comprised of flowers that bloom at different times of day and in different seasons.
In the morning, morning-glories bloom on the East side of the garden and spread all the way around to enclose the entire front porch.
In the afternoon, the morning-glories close and the tall four-o'clocks open at the center of the garden directly in front of where the altar stands on the inside.
In the evening, white clematis and jasmine are warmed by the setting sun that enters into the west window.
Spring brings forth the lilies and hycanthus which give way to the summer marigolds, morning glories and four-o'clocks, which then lend their way to the late summer/fall bursts of clematis and lingering nightshade.
Mixed in with the flowers are fruits, vegetables, herbs, and gourds all considered to be blessed foods. The lily stalks, gourds, dried flowers and herbs, are all cut and used in decorating the altar room with new flower arrangements or other displays. Some are dried and kept in jars for use later and seeds are harvested every fall for the replanting of the garden next season. Some things are even taken down to the river and offered up as votives.
This surrounding ring of green and life not only scents and cleanses the air coming into the altar room but encloses it with green, natural energy, connects what is on the inside with the nature on the outside, and honors Hera in an increasingly rare light that shines into the present from the ancient past when she was the highest of all the Gods, including Zeus.
Zeus did not come into his power until after he forced Hera into marriage and within the mortal sphere males began their posturing as being dominant over all things feminine - a mortal trend that still holds a choking grip to this day that began in ancient times. Even after Zeus had been noted as Hera's husband and thus "King" it still took nearly 1,000 years for his power to increase to a worthy note and his cults began to have political sway.
Mortal posturing aside, Hera still bears no love for Zeus and his reign which is why she never hesitated to punish, torment, curse, and murder anything that Zeus ever showed favor to. Nor did she hesitate to lead a full out revolt against him and his rule. Binding him in chains and holding him as her prisoner until he was set free with help from the Underworld.
Following the revolt Zeus returned the deed in kind by hanging Hera from the sky by golden chains, leaving her there until she swore and oath that she would never directly threaten his rule again. It is within this same story that we might see the breaking point of feminine influence in society and the rise of male dominance.
Luckily for Hera, thousands of years later a mortal would be born who would have no intentions what so ever of honoring her forced oath.

The Statue of Hera (July 9, 2012)

Hera cared for her beauty carefully. She went to bathe every year in the spring Canathus as Nauplia and renewed her virginity in the mystical waters. She was known as the "white armed goddess" and was irresistible when she fragranced her body with a lotion so sweet that it filled the whole universe with its fragrance. Athene had woven her a robe with art and she wore her earrings with three tear-dropped clusters, the robe clasped at her breast with a golden pin, and a white veil draping from her head.

Hera, as mentioned was born on the island of Samos on the bank of the Imbrasos River. (Her childhood was spent on the isle of Euboa). At the Temple of Hera at Samos, every year on the Spring Equinox, there would be a procession to the river of her birth where the altar statue was bound to a tree and bathed in the waters of the river. This annual procession cast Hera back into the light of "Mother Earth". So great are her powers over the earth that she was able to birth the monster Typhon (Typhoeus) by striking the earth with her open hand and calling for aid as alluded to most famously in this fragment:

Homeric Hymn 3 to Pythian Apollo 300 ff (trans. Evelyn-White) (Greek epic C7th - 4th B.C.) :
"Hera went apart from the gods, being very angry. Then straightway large-eyed queenly Hera prayed, striking the ground flatwise with her hand, and speaking thus: ‘Hear now, I pray, Gaia (Earth) and wide Ouranos (Sky) above, and you Titanes gods who dwell beneath the earth about great Tartaros, and from whom are sprung both gods and men! Harken you now to me, one and all, and grant that I may bear a child apart from Zeus, no wit lesser than him in strength--nay, let him be as much stronger than Zeus as all-seeing Zeus than Kronos."

It is in the light of Hera as a nature/river Goddess that the traditions here are to reflect in practice insomuch as the altar statue only being bathed in river or spring waters as is both the ancient practice as well as Hera's way.
The night before the statue is to be placed upon the altar stone the east windows are to be opened to welcome in the first rays of the rising sun.
Since the entirety of the altar room has been redone, re-cleansed, and elementally recharged it is important for the altar statue itself to be re-cleansed and re-blessed before placing it within the altar room upon the newly cut altar stone. For this, we will be taking the altar statue to the river for a bathing. This secondary washing of the altar statue aside from the annual Rite of Spring we can think of more in the light of Hera bathing in the spring in order to renew her virginity.

My altar statue of Hera is made of cold-cast resin that was bronzed and then hand-painted. It measures 9 1/2" tall and 7" wide and weighs close to 5lbs. This particular statue of Hera is becoming exceedingly hard to find and more expensive in that rarity. Mine is rarer still because it holds an engraved inscription on the bottom of the base - the only one of its kind. Like the altar room and this entire practice, now written for all to see.

Once the altar statue is cleaned it can then be returned home for a cleansing of white sage. Once the cleansing is done, after a full week of preparing the altar room the statue can finally be placed on the altar stone, where it will remain until the annual procession come Spring.

Once placed on the altar stone the statue is anointed with oils and votives of semi-precious stones and fresh cut flowers are placed before it. A handful of earth is placed on the left side of the altar stone and a bowel of river water (collected during the bathing) is placed on the right. Two white candles are lit on either side before the statue, incense, sage, and oils are burned to welcome the Goddess home.

The flower votives will remain on the altar until they are dry. Then, they will be crushed and mixed with the earth from the other side of the altar. To this is added the sage and incense ashes that were burned over the past week. Half of this mixture will be placed in a jar for use in the future and half will be taken to the garden outside that surrounds the altar room and offered back to the earth - once again linking what is outside with what is within.

From here, it will be business and practice as usual. I will visit the altar room every single day, often several times a day, work, write, collect, eat and dream in this newly enchanted and blessed place. With my Goddess, relics from my many journeys and tales, secret journals, and hidden thoughts.




Next, I think I'll present Hera with Zeus's thunderbolt.
Angel Snowden - 2012

Modern Practices - Deadly Immortality

Nightshade - Upon Hera's Altar are three glass vials. The first vial holds a number of dried Greek olive pits, the second holds a blood colored measure of the potion used during the Ritual of the Shielded-Warrior during the lunar eclipse winter solstice in 2010. And the third holds a deadly concoction of Nightshade.

Pictured here is the Nightshade during "processing". In this practice only four branches of wild nightshade are to be cut at a time. The blossoms and berries are removed first and place on the altar plate. Then, the leaves are sorted. From the first branch a number of "perfect leaves" are press dried between two stones. Another number of them are placed along with the berries and blossoms on the altar plate. The rest of the selected leaves are placed in an open urn to dry on their own.

The three remaining branches that are left whole are placed into vases on the left and right side of the altar and allowed to cross over the center.

The leaves and blossoms of the Nightshade dry much faster than the berries. As they dry they are crushed in a marble mortar and pestle and the powder is then mixed with half dried green and red berries creating a paste. The paste is then spread on a second plate to dry before it is crushed a second time in the mortar and allowed to set again until the next new moon.

On the night of the new moon the Nightshade powder is then placed into it's glass vial and allowed to remain open until the full moon. Only then is it capped and sealed. By the end of the ritual to create just one vial of "Heraian Nightshade" nearly two months may have passed.


The three vials represent the Sisters of Fate. The seeds of birth, the blood of life, and the dust of death. In a ritual that combines the three "the birth is crushed, the blood is spilled, and death is released".

In a later part of the same ritual enters one of the most mysterious and well guarded secrets of the ancient world. This being pure pomegranate juice.

The pomegranate was once the most sacred and most popular votive offered to the Goddess Hera. Myths abound about this sacred fruit the world over. Visitors to the Temple of Hera would never speak of nor write about it's power aside from one illumination that the juice of the pomegranate temporarily robs a God or Goddess of their immortality yet has the opposite effects on demigods and mortals, temporarily making them immune to the influence of the Fates or will of the Gods.

But when combined with cows milk the metaphysical effects of pomegranate juice are altered. Both are sacred to Hera and when combined become symbolic of her breast-milk ("kholos") or "The Rage of Hera" which, within the myths, are what gave demigods such as Achilles their ability and power. Once inside a demigod or mortal body the potion manifests itself as a "venom" and consumes the heart of the one "inflicted". Like any venom, once the milk of the Goddess is consumed by anyone it will remain in their veins for the rest of their lives.


In other myths, like that of Persephone, the pomegranate is considered to be a fruit of the underworld. It was the food used to trick Persephone into becoming the unwilling wife of Hades. Persephone ate three of the blood red segments of the fruit while in the Underworld and therefore must return to the underworld for 3 months out of every year.

This of course is the mythical reasoning behind the winter months when nothing grows as Persephone is locked away in the underworld and her mother searches for her.


Pomegranate votives were the most common gift left at the Temples of Hera up until about the 6th century B.C.E. when the offerings suddenly stopped. Scholars believe that this was around the same time that Hera went through a "mortal metamorphosis". Meaning that it was around this time that they began to stop seeing her as the all powerful Queen of the Gods, love above all, and began to see her as the more sub-servant wife of Zeus. Zeus, at the time, was not as highly respected or feared as the King of the Gods. Hera had many more followers and influences on the realms of man as an earth/river Goddess than Zeus did as the lord of the skies. But even after their supposed "marriage" which some might interpret as a play for power by Zeus or the early beginnings of a masculine dominated society where women had their rights and influence all but stripped away.

Pure pomegranate juice is a potent brew all to itself. Its a very bold flavored blood red juice that can have a hint of bitterness. It also does not store long. Once opened it should be drank within 10 days. Otherwise, it will begin to ferment itself.

The importance and symbolism of the pomegranate here reflects that of ancient times before the metamorphosis.  It is a common drink, votive offering, and ritual component in anything dealing with Herain the modern world.

Sacred Spaces - A Peek Inside My Altar Room

(Doorway to the Altar of Hera)

(The Altar Room)

Recently, in the Den, Zech brought up a great topic on the differences between indoor and outdoor sacred spaces. I consider myself extremely lucky to have the best of both in the most serenity filled room of our home and I thought I'd take the opportunity to give everyone a peek at some of the things inside my altar room.

Above is a photo of the double folding glass doors that divide the Altar room from the rest of the house. It is located On the south side (front) of the house, extending the front wall to the edge of the front porch which is to the left of this photo. Just in front of the photo is the front primary flower bed which also holds herbs, three watermelon vines, is backed by a panel of purple morning glories and crowned with 5 lilies. At the back (center) of that flower bed stands a large peacock. On the west side, tall ivy and flower vines cover the west wall and the edging is allowed to grow wild to help support the birds, squirrels, and the groundhog that lives under our neighbor's front steps.

The room itself sets just over 4ft above the ground with a large crawl space under it that is accessible through a hinged panel on the west side of the house. The loose sandy soil that lies beneath the Altar Room is the most likely place that someone in the distant future will uncover hand engraved stones that offer names, dates, and one to two line fragments of story referencing old Gods, magic, and immortality.

The East, South, and West walls of the room are primarily made of panel windows that open in the same manner as a cupboard door with the original latch locks on both the top and bottom of the windows which opens three entire walls up to the outside and offers direct light any time of day (or moonlight by night). And the North wall hosts two 3 foot solid strips of wall before breaking for the wide double doors that lead into the shadowed living room that is decorated in antiques, family photos, and accented with glass tables, crystal, and bronze.

(Greek Treasures)

Philosophers and sages throughout the years have played with attempting to describe metaphysical connections to lands we have never stepped foot on. And I have a few of them, all of which are located in central or western Europe. A remnant of a past life, an illusive dream, unbreakable bonds with the people I have met there, or something mused into my mind and heart from a mundane source...who knows? The point is not in the knowing but in the enchantment. And, for me, these lands are enchanting. The way they once lived, the modern approach to life in general, the poetic notes that changed the world over dozens of times all came from here. And any time I get the chance to get something from this land I tend to jump on it. If it was hand made and imported (or otherwise inspired) from Greece I want it in my Altar Room. Having those pieces of the land itself is somehow important to me and makes the illusive dream of what once was seem more real--physical links in a stronger chain of connection with the homeland of my patron Goddess.

This "chubby Pan" statue was one of the first things inspired by Greek myth that I was gifted.

My mother actually received this statue from my Elementary School Principle who had been following a pagan topic newspaper series I was writing back in 2002-2003. The newspapers came to call the nearly 100 editorial series "The Year of the Witch". It was the first time in local history that pagans seemed to be coming out of the woodwork and "witchcraft" became a common and locally excepted word. The public loved following along with the series in the two local newspapers and sales of those papers went up almost 18% during that run. The series is kept safe now on microfilm in the local library's Heritage Room as well as the county museum.

The statue was a gift from my old 5th grade teacher and Principle for a job well done by way of community involvement and education. She said that I had "turned into the teacher". Which was a nice sentiment. But, my mom being my mom refused to take the statue from her for nothing. So, she gave her 50 cents for it. Today, this same statue retails for about $100.00 unpainted.

This cup is one of two 24k gold trimmed, hand made cups that rest on the Altar itself. They are the very first actual imported items I ever received.

I came across these at a yard sale and bought them both for $2. After a meticulous cleaning and cleansing the cups became side pieces for my Altar over the years.

They have thick bottoms that make them heavier than they appear and are numbered. On the bottom of the cup is a decorative bordered "S" and they read "Hand made in Greece in 24k Gold". I have number 8 and 14 in the collection along with a matching small vase that is simply numbered 124.

The only time that I ever actually use these cups is for extremely special and rare occasions and the only thing that ever goes into them is sweet dark red wine (which is rare in and of itself). One cup goes to me and the other to Hera. Her's will rest on the Altar for a bit before being poured out into the earth in offering.

This is Hera's "Tiny Treasures" Offering Plate. The plate is milk glass, trimmed in gold, and has a wheat pattern gold ring surrounding its center.

Wheat was referred to as "The flower of Hera" in the late Bronze Age, for some reason that eludes me because I don't consider it a flower at all. But who am I to argue with the ancients?

The milk glass itself is sympathetic to the myths of Hera nursing mortals and demi-gods such as Hercules and Achilles to imbue them with her power, or as in the case of Achilles, her rage, which is one of the blessings that made him such a great warrior.

On this plate is where I place items such as river stones, polished glass from the beach, bits of pear or willow bark, flowers, or any other tiny treasure I might come across on one of my many adventures.  It is also where I place the two necklaces I never leave the house without every night before going to bed. And always present at the center of the plate is the red box that holds "The Eye of Hera" itself from many of the Denian Myths that you can find in the Den Archive.

"The Wings of Icarus" -- A gift from my beloved Braegan, are proudly displayed on the east side of the north wall of the Altar Room. Every "Angel" should have wings right?

In the Myths, Icarus was the one who was linked (along with his father) in creating the Labyrinth of the Minotaur on Crete. Both were imprisoned by King Minos and Icarus's father fashioned two pair of wings to help them escape.

But, despite being warned, Icarus flew too close to the sun and it melted the wax holding the wings together. Thus, he plummeted to his death. His wings are a reminder of the hidden dangers of being over-ambitious.

On the opposite wall of the Wings of Icarus rests this newly included hand painted copper plate. Another actual imported item that was made in the 1950s.

We found this item just this past weekend while we were out on one of our adventures. I thought it was proper to have a hand made Greek import displaying a Greek Temple in the Altar room. Can't get much closer than that! And the common decorative border on this plate also matches the border on the gold cups and vase that rest on the other side of the room.

This Greek style plaster column rests on the left side of the Altar itself and is a display of simplicity.

For some reason the colors: purple, white, pink, yellow, blue, and gold have always been present somewhere in my dealing with Hera.

The peacock feather accent is common throughout the room with a total of 7 peacock feathers and one statuette present near or on the most sacred items.Two rest on the Altar itself which I cannot display here.

The notion behind the peacock feather relates to the Myth that Hera placed the eyes of Argus (Hera's hundred eyed giant) into the feathers of one of her favorite birds.

Argus was Hera's "spy" and whatever he looked upon she could also see. So, by placing peacock feathers in the Altar Room (or anywhere else in your home) you are pretty much offering the Goddess a free peek at anything that goes on there. Here, Hera's eyes are always watchful.

This is Charlotte, my 11 year old rose haired tarantula in her newly designed "Sisters of Fate" inspired tank.

Charlotte is the spider priestess of the Sisters, spinning, measuring, and cutting her silken threads of time and fate over green glass decorative stones, a small Greek vase, the "Sphere of Time" (which was my very first scrying glass) my gold "Time Teaser" necklace that is inlaid with crystals surrounding a clock face, a golden ring that I discovered on one of my adventures, and another necklace that was a gift from one of my own three sisters.

This many eyed, stinging haired, nearly one inch fanged guardian of the time treasures is a constant muse and aid in many of the things I write, spin, and plan in both the Denian Universe and life in general. A reminder that the past sometimes weaves the future.

These are just some of the many items in my Altar Room dedicated to Hera and it is added to, cleaned, cleansed, redecorated, and visited on a daily basis for the burning of candles and incense. The room is also home to three potted plants, has a scattering of sea salt and white sage in and on nearly everything, has a place for putting coins to be tossed into the river on certain occasions for certain things, an antique trunk where I keep all of my hand written journals and favorite books, a chest that holds rare photos of my son and daughter, and so many other hidden wonders that it would be nearly impossible to put into just one blog.

All of this in the love and service of the ever present and rather over-protective Queen of the Gods who has guided and empowered me so that I am able to do all the things that I do. The more I learn about her the more I learn about myself. This Altar Room is the sacred testament of an epic life, a legendary journey, and an ancient Goddess walking new streets.

Today, just about everything that I am able to cook up for the Denian Universe is mused or conceived of in this one room. Both Braegan and I are extremely protective and territorial of this room. Visitors have access to every other room in the house but this room is a different matter entirely. We have only allowed family members in here twice and they are about as far as you can get from being pagan. But even they describe the smell and feel of the room to that of a church. And coming from non-pagan people that is about as good as a compliment as you can get and  sign that you must being doing something right. No matter what the path or what one believes there is something spiritual here. And it has been nothing but a blessing that permeates every aspect of our lives.

Blessed are those in the eyes of the Gods -- Pitied are those that need them.

Feast of Dreams

“Philotheros [lover of the wild], I desire to feast, not in the city, but at Hera’s shrine, enjoying gusts of the west wind. A linen pallet on the ground beneath my body is enough for me—a bed close by a native tree (promalos), and a willow (lugos), ancient wreathing (stephos) of the Carians. Let wine be brought and the Muses’ charming lyre, that, drinking to our hearts content, we may sing of glorious Hera, mistress of our isle.” (Nikainetos quoted by Athenaeus 15.637b-c Kaibel 1890)

Nikainetos was a poet who lived in Samos in the 3rd century B.C., around 290 B.C. and is often included as one an Abderite, a student of a pre-Socratic school of thought that was founded between 440-430 B.C. The fragment above helps to illuminate a more fragrant view of the sociology surrounding the Temple of Hera and how is was likely a common practice to lounge about the Temple feasting in merriment until lulled off to sleep on a convenient pallet, bed, or couch there on the grounds, to dream dreams and have divine visions of the Mother Goddess while resting there.

One can’t imagine that the noise, smells, and hustle and bustle of city life offered much by way of peace and divine dreaming. Before all Hera was a nature Goddess with rituals founded for river gods and votives proper for a deity of both protection and fertility, the latter extending to crops and the renewal of life from death as a Goddess of Spring. She was also held as a mistress of wild animals that included griffins, oxen, horses, lions, and several birds. And in as many as twenty separate cult houses, throughout time, there is solid evidence that Hera was the Goddess of hearth and home. We may also allude to Hera’s Rite of Spring and the conclusion of the cycle in the autumn with The Harvest of Hera; a seasonal pattern that illustrates the notion that the giver of life (The Earth Goddess) also takes life away. The same notion can be seen in the mythos of “hero”, (Hero/Hera – Those glorified through Hera) who almost always died a young death.

Hera was the most influential and honored at one point in time while Zeus, who many attempt to place above her, can be viewed as a paranoid degenerate whose life and actions only served to back that point of view. His mortal gifted esteem and position was granted primarily by the sexist feminine suppression and social upheaval of Homeric times. Where Zeus was all force and chaos Hera was nurture and serenity; attributes typical of a mother goddess. And so, it is to the Temple of Hera where one ventures to find peace and simplified comforts of life.

It does not take a stretch of the imagination to see a clear vision of what a common Temple visit would have been like. A visit based in relaxation and merriment honoring Hera until one is mused to curl up on a soft pallet and be lulled into dreamful sleep in the arms of the Goddess herself with a belly full of food and drink that only serves to allow Sleep to visit more easily and dreams to become much more vivid.

How many visions came to the minds of mortals in such a manner? How many hidden, subtle blessings to the minds of men; to muse and encourage a much more rustic existence than anything we may experience in the modern world, still with all of its grit and grime. It’s so easy to slip between silken threads to touch the divine, so easy to find the sense of peace to the depths of the soul…and so easy to deny it all in the here and now. Perhaps we have forgotten what is important.

So, we come to the Temple of Hera to feast, sleep, and dream on a common day with common foods. What we might find there are things such as: arugulas, cucumbers, artichokes, cress, fennel, radishes, squash, grapes, olives, figs, pears, plums, apples, pomegranates, peas, lentils, sardines, an array of sea foods, goat, goose, boar, chicken, deer, rabbit, lamb, a variety of breads, and the fragrant bergamot oranges that, today, the essence of which is commonly used in the making of Earl Grey tea. All such foods may be seasons with things such as pepper, dill, salt, thyme, saffron, coriander, mint, and oregano.

Bread was a staple in ancient times with the inclusion of a small amount of vegetables, olives, and wine incorporated into everyday consumption. All of which was eaten by hand rather than with utensils. Raw fruits and olives were common as side dishes with any regular meal and often that meal was not a “fancy feast” but a feast of simplicity. It was perhaps an unrealized effort to take something really good and not screw it up.

All of this there in the cool shades of Hera’s Temple, a wide open space beyond highlighted by pools of golden sunlight. The soft caress of the west wind mixing and mingling the scents of the foods and the Temple together into a new form of ether unique only to that moment. A ghostly, fluid, lubricant that allowed one to slip from mortal form and into something more, however briefly. A simplistic feast set in the divine, an afternoon nap in the lap of a Goddess…a slow, steady, nurturing, and stress free life full of magic, mystery, and wonder known only to those who, with bellies full, dream.

How quickly mortals forget.