I couldn't find much information about this standing stone. Apparently it was carved and erected by the ancient Camunni tribe somewhere between the 2nd and 3rd millennium BCE. Evidently it was relocated to a museum, which appears to be the Teglio Antiquarium Tellinum (Archaeological Museum). The location was said to be Cornal, Val Camonica; although it wasn't clear as to whether or not this was the original location, or the location of the museum itself. It may be a very small village or more of a type of place name in the old language. The flat square stone, resembling an Odinic runestone, was described as an "idol statue with graffiti."
I feel a bit cheated, since this a beautiful very ancient artifact, and I want to know more about it. The "graffiti" looks something like a labyrinth, which was an important symbol to the Camunni. It may be of something else, although it's not clear. It does look very interesting and meaningful. It's at least as thought provoking as one image of an ancient Camunnian warrior doing battle with a Spartan-like helmet, sword, and shield. Remember, the Camunni weren't afraid to do battle with the Romans.
[Petroglyph standing stone in case the above link doesn't hold] 1937 National Socialist expedition to Val Camonica The Ahnenerbe was an institute in Nazi Germany purposed to research the archaeological and cultural history of the Aryan race. Founded on July 1, 1935, by Heinrich Himmler, Herman Wirth, and Richard Walther Darré, the Ahnenerbe later conducted experiments and launched expeditions in an attempt to prove that mythological Nordic populations had once ruled the world. In 1937, the Ahnenerbe sent the archaeologist Franz Altheim and his wife, the photographer Erika Trautmann, to Val Camonica, to study prehistoric rock inscriptions. The two returned to Germany claiming that they had found traces of Nordic runes on the rocks, supposedly confirming that ancient Rome was originally founded by Nordic incomers. Wikipedia displays the following image as an example of Camunic runes in Val Camonica. What is interesting is that--despite the fact that the Camunni were an Alpine/proto-European people, and not Teutonic--the ancient Camunic alphabet is made up of some symbols which appear to be of Teutonic origin. For example, the Life rune and the Death rune (see letter "Z"). Although some of the Norse runes actually have their origin in the Italian peninsula, those two particular runes are of Norse origin. Also, there's a type of "double-Life rune" as well (see letter "S). If you compare the runes from the Camunic alphabet above to the Teutonic/Odinic runes, clearly some are the same. For the record, the Camunic alphabet is from the first century BCE in the Val Camonica and the Valtellina. Although it can be confusing, some of these ancient symbols moved around; perhaps via the old trading routes. Although I believe that the National Socialists got the eastern Teutonic origins--including very ancient symbology--largely correct; the idea of "Teutonic Romans" was an embarrassing falsehood.
The Romans would seem to have been primarily a shorter, heavy-boned Alpine type with true-Mediterranean admixture. This is why the old statues didn't particularly appear to be Mediterranean; for example, with Roman noses. I use the term "Alpine" loosely, since I'm referring to a more widespread stock 3,000 years ago.
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I still think of Bugatti as having a tie-in with the company's Milanese founders, Ettore Bugatti and his family. Certainly the legacy has a Milanese spirit. Bugattis, in all of their forms, are truly a work of mechanical and artistic genius. I love the old ads, which are something of an art form in of themselves. The company today is headquartered in France, and owned by Volkwagon.
This is interesting, and food for thought, but I wouldn't hang my hat on it entirely. The word or compound word should feel perfect within you. There is an energetic element at work within any name that you use for anything. I would suggest taking many names for levels of personal identity and symbolism, and then even look into those words in other languages and dialects... and really make it a project.
The following text apparently no longer has any type of copyright, and I wanted to save this particular writing from being lost. I would suggest using FromTextToSpeech.com for anyone who just wanted to sit back and listen rather than read. I find the "Heather" voice to be clear and easy to understand. I can recall republishing a wonderful text interview which the Odinic Rite conducted with a representative of the Slavic Faith Association from Poland a few years ago. I was very surprised that the OR discarded it. Also, I wanted to add that this isn't necessarily a "Norse Creation Myth" as much as it is a Teutonic Creation Myth. It could very well have originated in the original Teutonic homeland north the the Himalayas, probably well over 10,000 years ago, and perhaps much longer. "Nordic" is a region, while "Teutonic" is a people who lived in many regions over the course of time.
Odinic/Asatru Creation Myth In the beginning, there was Ginnungagap, the yawning void or the vast abyss. It was a region so tremendous, so limitless that it extended for ever in any direction, with space to contain a million universes and still have room for another few million. To contemplate it would make you sick with dizziness, would make you weightless, would bend your mind with terror for it had no length, no breadth, no up, no down. In the beginning there was nothing in Ginnungagap that any human thought could grasp, not a drop of water, not a blade of grass, not a even a grain of sand. There was no light, no darkness, no silence and yet no sound - only a yawning void. Although this nothingness was so vast and shapeless, it was still not empty. It had no form but it was definitely not empty. Only the gods know this secret. After the beginning, this nothing began to be something and there were seen to be in it two contrasting regions.
First of all was a region of fire, called Muspell (also known as Muspellheim). No ordinary being could live there for the land was ablaze and the air aflame. Later the combusting fire giants were to make Muspell their home. Muspell means "Home of the Destroyers of the world".
The second of the great regions in the vast abyss of Ginnungagap was cold, bleak wilderness of ice and snow and freezing fog, called Niflheim. Niflheim like Muspell, had existed for countless ages before our earth was created. In the center of Niflheim there surged and foamed up the mighty fountain of Hvergelmir, the Roaring Cauldron. All the rivers of all time proceeded from Hvergelmir. Their names were fearsome and their forms were magic: Howling, one was called, others Storming, Frightful, Bubble-blasting. One was said to be composed entirely of chunks of ice fighting their way along in the shape of weapons - spears, javelins, swords and battle-axes.
Another tumultuous fountain in Niflheim was Elivagar or Icy Waves. Elivagar, too had welled up from its unknown source since time immemorial. Some even say that Hvergelmir and Elivagar were only different names for the one primeval fountain. However that may be Elivagar's crunching, creaking, groaning mountains of ice expanded and exploded and spread lay upon layer as glaciers all over the northern quarter of Ginnungagap. And across the ever growing sierras of ice, whirled winds of hail, blizzards and frozen torrents of rain.
Most important, there bubbled up through Elivagar a poisonous scum which set the slag which runs out of a furnace. This hardened into black ice. When the mass stopped and flowed no further it hung suspended, forming colossal icicles and icebergs log jammed up and up, one on top of another. So between them, Hvergelmir and the poisoned Elivagar completely filled the northern part of Ginnungagap. At last the yawning void which lay to the north quarter was blocked with heavy and crushing ice and frost; while in contrast, the southern sky of Ginnungagap glared with sparks and molten gases gushing out of Muspell.
It was quite obvious that after eons of time the regions of fire and ice in the yawning void must meet. When this eventually happened there arose that most amazing of all phenomena, which no one since the world began has been able to explain - Life. When the two elements came together in space, the yawning void was as mild as the windless air, but as the ice of Niflheim touched the fire of Muspell there was a tremendous explosion and a mighty booming band. The fermenting drops of venom bubbling up through Elivagar were fused to life by the fire and across the length and breadth of Ginnungagap their there formed the body of a giant. He was shaped like a man and at first he hardly moved. A broth of bubbling and boiling mud and ice gave birth to his ferocious head, his arms, his torso and his sludge-streaked legs. His later descendants, the frost giants, named him Aurgelmir which meant Mud Boiler, for they knew the secret of his creation; but others called him Ymir.
For long ages Ymir lay sleeping in his porridge of poisonous, seething mud and ice. At last his body was solid and he began to sweat. Under his armpit grew a male and a female; then one of his feet mated with the other to produce a six-headed son, Thrudgelmir, who in due course gave birth to Bergelmir, the direct ancestor of the frost giants.
Not all the ice of Niflheim was impregnated with the poison from Elivagar, and where it remained pure but was still melted by the fires of Muspell, a vast cow appeared in the thawing ice. Her belly spread across the heights as a colossal cumulus cloud and her legs were columns at the corners of space. From the udder of this great cow the giant Ymir suckled. The frost giants called her Authumla meaning Great Nurse. Authumla herself needed sustenance and she began to lick the continents of ice about her, finding them pleasantly salty to her taste. Just as a master sculptor sees in a block of marble an image which only he can release, so when Authumla licked the ice something new began to appear.
By the evening of the first day her questing tongue had licked out the hair of a man. All next day she nuzzled and slobbered until a man's head appeared. By the third day she had licked a complete man into shape. The gods called him Buri for they claim him as their firs ancestor: he was beautiful and bright to look at, a great and mighty god. As time went on, Buri had a son called Bor, a name which means born, for all those thousands of years ago there were still not very many words available. Bor's wife was Bestla the daughter of a giant known as Balethorn. Bor and Bestla had three sons called Odin, Vili and Ve.
All these beings, the ancestors of the giants and the gods, and the universal cow Authumla, had formed the primeval form lessness Ginnungagap. Because of the venom proceeding from Elivagar some were evil. Others, like Buri, were good. But it is well known that good and evil cannot live peacefully together and before long there was a tremendous battle between the cosmic powers.
The frost giants were a dark and violent race, misshapen, monstrous and noisy. Old Ymir's son, born by the union of his foot with the other, was a glacier-like being with six-heads called Thruthgelmir or Mighty Roarer, and his son was known as Bergelmir or Rock Roarer. When they and their ancient father and grand father Ymir met in council with the notice was ugly and and Odin, Vili and Ve, the sons of Bor were irritated beyond endurance.
Odin and his two brothers quarreled with old giant Ymir and after a great battle they killed him. When he fell, hacked to pieces, so much blood flooded from his body that all his giant family were drowned except the youngest, Bergelmir, and his wife. Bergelmir swam through the billows of blood dragging his wife by the hair until he was able to scramble on to a giant mill and there they sprawled across the millstone gasping for breath. In this way, the race of frost giants and hill ogres was able to continue.
Odin, Vili and Ve dragged Ymir's carcass, still pouring volumes of blood into the middle of Ginnungap. There were so many wounds in Ymir's body that the blood flowing out formed the sea. All oceans, lakes, rivers, waterfalls, pools and streams came from Ymir's blood.
Wondering what to do with the remains, the sons of Bor decided to sculpt it into something useful, so they set to work. They pounded, kneaded, chopped and slashed his tremendous corpse, pushing and pulling his flesh this way and that as though it were clay until they were satisfied. When they had finished the first part of their gruesome task they had produce the groundwork of the earth: the rolling hills, plains, dry river beds, empty lakes, and empty sea-bed. Into all these hollows they poured Ymir's blood so that the earth lay entirely surrounded by the sea with rivers running through it. His bones they hacked and splintered to make mountain crags. They made individual rocks and seashore pebbles from his toes, double teeth and remains of broken bone. They used Ymir's hair for tree's and bushes. For soil the made out of his flesh, and the race of dwarfs appeared spontaneously rather like maggots. Bor's sons had now created the earth and the beaches and the sea but yet there was no sky. So Odin, Vili and Ve between them heaved up the mighty skull of Ymir to form a dome over the earth. Now they had to find a way to keep it in place.
Fortunately (because without a sky the earth would been a dark and miserable, not to mention uninteresting place to live in) a solution was at hand: they were able to make use of the dwarfs. Odin, Vili and Ve peremptorily ordered four of them to stand forever at the four corners of the world to hold up the sky. They called them Nordi (North), Sudri (South), Austri (East) and Westri (West). A little later on Odin created the winds by posting a giant (one of Bergelmir's sons) in the form of an eagle at eh ends of the earth to flap his wings for ever. And into the stream of air Bor's sons cast Ymir's brains to make the clouds.
The dome of the sky was now firmly fixed, but it remained dark and menacing. Freed from the supporting sky, the sons of Bor caught the glowing cinders and sparks which were thrown up and out of Muspell and poised them in the middle of the yawning gulf to light both heaven and earth. They appointed positions to all the stars: some were fixed in heaven, some were to pass backwards and forwards in regular patterns. In this way the seasons of the years were marked out, but as yet there was no sun and moon, and day was not separated from night.
Odin, Vili and Ve now gave a great grant of land encircling the outward shores of the ocean for the race of giants to settle in, calling it Jotunheim or Giant land. Finally the gods took Ymir's brows to build a circular stronghold of the cliff-like walls around the earth. They called this fortress Midgard, meaning the Middle Enclosure.
Creation of Night and Day
Narfi, one of the first giants to colonize Jotunheim, had a stunningly beautiful daughter who was quite unlike the Viking women in appearance. She had a dark complexion and dusky hair. Her name was Nott (Night). Beautiful she was, she made herself more so by wearing bright stars in her long dark hair. Naturally enough, many men wished to marry her and being a young woman of strong character, she married three husbands, one after another.
Nott's first husband was a handsome young fellow called Naglfari or Darkling, who may well have been a distant cousin of hers. Their marriage did not last long, but long enough for them to produce a son called Aud (Space). If you happen to be alone on a dark night with no clouds and the stars twinkling away into infinity, you will be well aware of the presence of Aud.
There was some mystery about Nott's second husband. Nobody ever called him anything else but Annar (Another). It looks suspiciously as if 'Annar' was simply a bye-name, a name employed to disguised the person's identity. People frequently speculated about who could really be or where he came from. There seems no doubt that he was not a giant and if that was the case, then he must have been a God, for no other beings have been created at that time. It is probably no was to find out whether Annar was someone of supreme importance who felt embarrassed about acknowledging a relationship by marriage to the giants. Whoever he was, Nott and her second husband Annar had a lovely daughter who was named Erda (Earth). Now, here is the surprising thing: of all the gods, Odin himself also had a daughter called Erda - so people are left to draw their own conclusions.
Night's third and last husband was Dellinger (Dawn), god of Dawn, He was definitely a relative of the gods and as his name implies, he was bright and fair. Their son Dag (Day), took after his father's side of the family and was very blond and beautiful.
It is clear that the Gods knew all about Nott and her various children and they were only too happy to work them into their scheme for the universe. The gods decided that each twenty-four hours should be divided into twelve and twelve and that half should be light and half dark. They gave Nott and her son Dag each a chariot and a pair of horses and sent them up to the heavens to drive around the earth, one after the other, once every twenty-four hours.
Nott drove first with her lead horse, Hrimfaxi (Frostymane) who each morning sprinkles the ground below with dew as he champs at his bit. The froth and glitter of his spit can be seen as it gathers in beads on the leaves and petals before dawn.
Behind, gallops Dag. His lead horse Skinfaxi (Shiningmane). The resplendence of his two shining steeds and of his own long golden hair, illumines all the earth and the sky with light.
Creation of Sun and Moon
In the old days the sun and moon, made like the other stars and planets from the flames of Muspell, swung unguided across the heavens. At that time there lived on earth a man named Mundilfari. It is not clear whether he was of the giant race of a poor relation of the gods. His name means 'the world turner' and in the beginning he man well have charged with making the world spin round - under the direction of the Gods of course. Perhaps this important work may explain his rather arrogant nature which in the end, got him into trouble.
Mundilfari had two children so bright and handsome that he thought nothing in creation could compare with them except the sun and the moon. Proudly he called the boy Mani (Moon) and the girl Sun (Sol). When the Gods heard about this they took offense. Vainglory of this kind was too much for them to bear and they snatched the children away from their father and put them to work in the heavens. It is these children we see as bright lights in the sky.
They made the girl he named Sol ride like a jockey on one of the horses pulling the chariot of the sun. The two horses drawing Sol's chariot, Arvakr and Alsvin (Early-Wake and Supreme-in-Strength), had to be protected from Sol's great heat, the Gods fixed an indestructible shield known as Svalin (Iron Cool) between the horses and Sol. Year after year, until the end of time, they follow their path across the sky, varying its height and length with the regular pattern of the changing seasons.
Sol's brother had to ride one of the horses of the moon, called Alsvider. But because his journeys were much more complicated than because the moon he was set to a guide of waxes and wanes each month so that it is never quite the same for two days in a row. Mani could not manage this himself and he in his turn kidnapped two other children from earth. A little boy named Bit and his sister Hiuki, had been sent up a high mountain by their father to fetch water from a well. That was the last the old man ever saw of them.
As Mani drove behind the peak in his glowing chariot, he snatched the unsuspecting children and took them along with him. On a clear night of the full moon they are both visible: people on earth call them the children in the moon and it is they who make the moon wax and wane. How exactly they do this is a puzzle. No one knows whether they draw a curtain across Mani's face, or whether they persuade him gradually to turn his head sideways and then back again.
From the earth both the son and the moon can be seen racing across the sky. This is not only because they are drawn by splendid galloping horses. They have a pressing reason for losing no time in their journey: they are both being pursued by wolves.
A long, long way away from Midgard, where it is almost always winter and dark forests stretch as far as the eye can see, in one desolate ravine where the tree trunks are corroded iron, live evil witches, troll women known as Ironwooders. Evil breeds evil. The worst of these witches became the mother of dozens of giants, all born in the form of wolves. Their brutish father was himself a wolf or at least a werewolf and it is said that he was no other than the famous Fenrir. Two of his cubs grew into such huge, terrifying animals that the powers of evil were able to set them like ravening dogs onto the sun and the ever-changing moon.
Bounding through the sky, the wolves chase the horses and the chariots as though they are rabbits or hares. One shaggy, dark wolf pursues the sun; the other just as hideous, leaps along, following the moon. Sun and moon have no hiding place from these evil beasts and are doomed to run away until the doom of the Gods.
The prophecies say that in the end the wolves will overtake Mani and Sol and swallow them up completely.
Creation of Humans
The three sons of Bor were at first known as Odin, Vili and Ve. Though Odin developed many names during his years, he was still mainly known as Odin. Vili was sometimes known as Hoenir and Ve often called Lothur.
One morning, when all creation was new, the sons of Bor were walking together along the ocean shore. As they looked about them they could not help admiring the world they had made. The pure air sparkled with light for everything was running according to their plan - the sun was thinning, the breezes were blowing enough to cool and refresh the skin, puffy white clouds adorned the blue sky and the waves lapped pleasantly along the vast empty strand.
Empty? Well, not quite. In the distance, just beyond the waterline, the three gods made out two logs of driftwood. They had only been recently deposited on the yellow sand by the waves sweeping in from the ocean and were so near the water's edge that the tide still splashed the side of the one nearest to the sea.
Odin looked at his brothers Hoenir and Lothur and a wild idea came into his mind. Together they strode along the firm golden sand until they stood over the two logs. As the bay curved round, the sun happened to be behind them and Hoenir's shadow fell along the log nearest the water while Lothur's shadow lay along the other one.
Odin watched as the shadows of their legs and arms moved, making it look as if the logs too, were moving. He dropped down onto his knees by the log nearest the shore; it had been the trunk of some primeval elm tree. Placing his lips to the rough bark of the tree, he breathed out his divine spirit. Then he stood up and the three stepped back to watch.
Slowly, perhaps even hesitantly, the bark of the elm log began to shrivel and split and roll back until the body of a naked woman appeared. She was very beautiful but her skin was blanched like plant grown for a long time with out light and her eyes were vacant. She lay quite still without moving a limb.
Odin bent over the other log, which had come from an ash tree. Once more he breathed on the thin bark and this time the figure of a man appeared in the wood. His eyes open vacantly and he, too, lay motionless.
All this time the shadows of Hoenir and Lothur lay alone the newly released bodies. The three young Gods looked at each other and without speaking each knew what to do.Odin had released Woman and Man and given them a soul and life. Now the other two brothers made their gifts. As Lothur looked down on the woman he transferred to her the flush of youth, the use of her five senses and the power of understanding. Slowly she sat up, looking around the new world. Then she turned to look at the body still lying motionless and empty beside her.
Lothur then transferred his power to Man. The warmth of blood began to course through his veins and he, too, received understanding and the gifts of sight, hearing, smell, taste and touch.
Hoenir's gift was the faculty of speech.
The two new beings, the first man and the first woman, looked at each other in full understanding, rose to their feet and embraced. Odin name the man Ask (Ash) and the woman Embla (Elm), from the trees out of which they had been formed. He took off his clock and draped it over the woman and put his tunic around the man's shoulders. Together the first human beings turned away from the sea and walked hand in hand into their new world. .
It should be clarified that the proper term is "Swiss Italian," not Italian Swiss. As has been covered here before, an immigration--earlier than that to California--had been to the state of Victoria, Australia. Just like with other smaller Alpine regions, such as Val Camonica or Valtellina, the Swiss Italians/Ticinese have a local type of cuisine. It appears that there were many similarities between the California settlers and the Victoria settlers.
Swiss Italians of Australia, are Italian-speaking Swiss that settled in Australia during the 1850s and 1860s. The Swiss Italians initially settled in the area around Daylesford, Victoria. The Swiss settlers were from the canton of Ticino and the southern part of Graubünden
The influence of the Swiss Italians of Australia—Italian-speaking Swiss from the cantons of Ticino and Grison and the northern Italians is still present in the township of Hepburn Springs—through the names of its residents, the names of its springs (Locarno) and buildings (Savoia Hotel, Parma House, Perinis, Bellinzona) and the annual Swiss-Italian Festa.
The heart of the Italian-speaking community was the area around the Savoia (Spring Creek) Hotel and the Macaroni Factory. The Savoia is named after the royal family of unified Italy. An Italian reading library was located at the hotel and pasta was made opposite in Lucini's Macaroni Factory which was also home to the Democratic Club. Lucini's moved from Lonsdale Street, Melbourne in 1865, where they had set up as the first pasta factory in Australia in 1864. Vanzetta's bakery supplied bread to the community and Crippa, Perini, and the Gervasoni's (Yandoit Creek) produced wine.
In 2007 the Melbourne Immigration Museum featured a display entitled Wine Water and Stone reflecting the Swiss and Italian heritage of the area.
Swiss Italian food and culture
The Swiss Italians loved sport, food, and music. Their influence on local culture is celebrated annually during the Swiss Italian Festa. Swiss Italians of Australia have made their mark in spheres of art, music, literature, journalism, sport, education, science, and engineering.
A local delicacy is bullboar, which is a sausage made from beef, pork, garlic, and spices. Local families jealously guard their recipes. In 2005 Daylesford Secondary College came in second place in the Australian Broadcasting Corporation's Young Gourmets by making bullboars from the Gervasoni and Sartori recipes, which gained much media attention over the fate of Charlotte the pig, with little concern for the steer involved. The bullboar has been named an endangered recipe by the Slow Food Movement.
The Hepburn Springs Swiss and Italian Festa is an annual five day celebration in late October of the area's Swiss Italian and Northern Italian heritage, with music, food, art, wine etc. Ticino and Val Camonica are very kindred cultures, both being Lombard-speaking mountain communities. The Lombard cultural relationship doesn't just end because some long ago German king decided to build a fence. This is a part of our culture as well.
There are local (Bay Area) Swiss Italian events, and in other parts of the state, but they're hard to find as they would usually only pertain to those of that cultural family; and perhaps through the "Pro Ticino" clubs. However, there should basically be no difference between--for example--the Ticinese of west Marin County and the Milanese of east Marin County. Not only does the canton of Ticino border with the province of Milano, but both are from the same "West Lombard" dialect.
I came across an article on the Switzerland information website entitled 'Italian Swiss... or Swiss Italians?' Although interesting, that issue has been covered here before. Still, I wanted to link it for anyone interesting in reading up on it. The Ticino question becomes important to us partly because of the large past immigration in a few areas, and because we should bridge the gap finally with the idea of "Lombard cultural identity."
The "clan" concept is great, but let us not forget the ancient nation of Lumbardia. One "Lumbard" cultural family: Bergamo, Brescia/Val Camonica, Como, Cremona, Lodi, Mantova, Milano, Monza/Brianza, Pavia, Sondrio (Valtellina/Valchiavenna), Süd Graubünden/Val Poschiavo, Ticino, and Varese. .
This combination of ingredients is found in Christian exorcism rites practiced by the Catholic church, or more pointedly rites which would have been found in the Episcopalian tradition that Leland adopted during his time at Princeton:
“These four—water, wine, salt, and ashes—were the ingredients of the Exorcising Water to expel the enemy from a Church at its consecration ; the water symbolizing the outpouring of tears, and so penitence ; the wine, exultation of mind ; the salt, natural discretion or wisdom; and the ashes, the humility of penitence.”
– The symbolism of churches and church ornaments, Guillaume Durandus
And these three can also be equated in alchemical terms to Mercury (water), Sulphur, (wine) and Salt, which in the Paracelsian tradition are the three essential elements that form the basis of reality prior to the four elements of fire, water, earth and air. The rectification of these three also forms the basis of the Philosopher’s Stone. Leland was well acquainted with Paracelsus by the time he wrote Aradia, we find him discussing Gnosticism and Neo-Platonism at Princeton while still a student:
“When (Professor Dodd) asked me how it was that I had renegaded into Trinitarianism, I replied that it was due to reflection on the perfectly obvious and usual road of the Platonic hypostases eked out with Gnosticism. I had…learned…that ” it was a religious instinct of man to begin with a Trinity, in which I was much aided by Schelling, and that there was no trace of a Trinity in the Bible, or rather the contrary, yet that it ought consistently to have been there…For man or God consists of the Monad from which developed spirit or intellect and soul; for toto enim in mundo Ivcet Trias cujus Monas est princeps, as the creed of the Rosicrucians begins (which is taken from the Zoroastrian oracles)…and it is set forth on the face of every Egyptian temple as the ball, the wings of the spirit which rusheth into all worlds, and the serpent, which is the Logos.”
– Memoirs, Charles Leland
Here we see the core of Leland’s belief, “there was no trace…yet…it ought consistently to have been there.” Aradia is a classic work of Pastoral poetry, the work of an educated Romantic who longs for the Golden Age of Nature. Through the use of vox populi he takes the unrefined elements of folk culture and, in an alchemical moment of myth building, creates what “should be there.” He separates out the dross of true poverty and seeks the essence of hunger, desperation and wisdom that exists in the lives of the dispossessed.
Leland takes what the common people already know, but have no chance to define, and shows them a reflection of themselves. Reworking their traditions with the purpose of returning to them the freedom that they already have, while undermining the bonds of control that have been put on them by social conventions that laud ostentation while rejecting the simplicity of life. It is therefore no surprise that Aradia has had a foundational affect on contemporary witchcraft, that was the very purpose of the book.
Margherita Taluti’s information alone could not complete his vision, but it provided the ground and reality from which he could perfect the Work. It contained the Prima Materia missing from his own experience and provided the Key. Leland’s practice is no different than Ovid, Homer, Chaucer, Boccacio, Shakespeare, or any of the great Traditional Poets who took the popular mythologies and legends of their time and re-veiled them.
As he remarked to one of his fellow folklorists, “I am proud to be a first pointer-out – just as I am of having been acknowledge to be the first discoverer of Shelta…also of Italian-Latin witch lore and mythology, which latter has not as yet been credited to me, but will be some day.”
Through an alchemical invocation of the popular voice Charles Leland created a vision for the dispossessed to lay claim to. His ‘gospel of the witches‘ was the ‘good news‘ of the free spirit, the reclamation of the Edenic purity of Humanity that “shall dance, sing, make music, and then love in the darkness.” It is the message to the establishment that “the true God the Father is not yours; for I have come to sweet away the bad, the men of evil, all will I destroy!” It’s a mark of success that Leland’s work has been reviled by the Academy, he wasn’t writing it for them, he was writing it for the People.
Note: The folks at Red Wheel/Weiser were kind enough to provide a copy of Charles Leland’s Aradia, Gospel of the Witches for research and review. Check out Bob Freeman’s review of Aradia and Freeman Presson’s review as well.
1937 National Socialist expedition to Val Camonica 
