Soundings
Time 2021-10-30 21:10:08Web Name: Soundings
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Saturday, 18 January 2020 WALKING THE ANCESTRAL ROAD: Healing Family Lines by Caitlín MatthewsI felt the presence of an ancestorI asked him what he had to teach me and he replied, Ive not come to teach you. You came all the way to this country to do what you could do at home, with your own ancestors, symbolsand heritage. Look to your own roots. -David Wendl-Berry:The Womb TombDoor of St Ebbs in OxfordFINDING THE ANCESTOR DOOR
The Ancestors are closer to us than we think: they are not about us doing lots of family research and genealogy, nor about getting our DNA tested. We do not need to know them personally, nor do we need to know their names before we encounter them. They are much closer to us, contactable and responsive to us, a collective of wisdom that can flow to us.As David Wendl-Berry discovered for himself, we are often misled into thinking that ancestors are only for indigenous people or in far-away places: if we look where we are we will find that our own heritage and wisdom waits for us too!
Most of my work has been with the ancestors over the last 40 years, and most of this has had oral exposition in our FÍOS shamanic training programme and in other courses, but not yet in many books. Initially, I found the ancestral road very hard to walk because I felt I was opening a door that had been shut for a long time.In my searchings and discoverings, I was aware that this door-opening was not just for myself but for many others: my family, my students, my readers all needed this wisdom.The problems that all Western people face when attempting to open that ancestor door were also mine: concern about the detritus, grief, and betrayal that clogged the threshold of the door, fear of what I might find, and a darkness devoid of joy which I had inherited from those who had closed the door in the first place.As soon as I realized that these things were not about the ancestors themselves but rather about our loss of the ancestral wisdom, things changed. The accumulation of stuff littering the threshold of the ancestor door had to be cleared away and then, I went in what on earth was I doing, taking so long to run into the welcome that I found there?
In writing theAncestral Oracle of the Celts, I hoped to share some of these discoveries, so that people might begin to find their own way through the door. The idea for theAncestral Oracle of the Celtsfirst came back in the late 1980s when we began teaching our shamanic training programme, then a four-part year-long course: in each season, we would meditate and interact with the common ancestors that represented the gifts of the tribe. These archetypes became the 32 Clan cards in this oracle, the cards that are upright portrait cards, each showing an individual function, emblem and keyword. Along with these come the 8 Divine Ancestor cards who represent the Deep Ancestors, who are the forebears of us all: these are landscape cards, representing the horizon that is common to us all.
The KeeperTHE KEEPER remembers the ancient ways of the tribe and knows the relationships and family-ties back for generations. Her great memory is sustained by her attunement to the web of the life, which keeps all things in relationship.Upright:Everything has its own innate wisdom. Despite the effort youve put in, things behave according to their nature.The resonances that you feel between your question and your instinctive knowing are leading you steadily to the truth.Do not be afraid to name that truth now.Dont forget to thank those who have enabled you to get this far.
THE LORD OF LIGHT helps us see with clear vision, enabling us to be strong and resourceful.
All of the cards have their own wisdom and guidance, and you can lay one to many cards to answer questions or seek help, but here I want to reveal the way in which the cards can be really helpful for making reconnections, supporting and guiding through simple rituals that enable the ancestral strength to flow down into our lives today.
WALKING THE ANCESTRAL ROAD
For many people, ancestral connection is something that is avoided as their minds are full of recent forebears who have treated them badly, but this avoidance also cuts us off from wisdom that it is our heritage. The sensible thing is to step beyond the recent sphere of hurt and go back deeper into your line, to enable healing and help to come down to you. You dont need to know or identify anyone in that line you just work with the ancestors who step forward. These can be from a long time back,beyond the reach of memory. Allowing this movement backwards actually enables the road forward in a way that is remarkable, but dont just take my word for it.
It is good to lay the cards on the ground and to stand up, approaching each card as if that ancestor stood there and have a sense of what is conveyed to you, taking your time, closing your eyes and feeling with each cell of your body and atom of your consciousness how you and your ancestral heritage can be with you. By physically allowing your body to be a receptor, you begin to walk the ancestral road for yourself.
Above we see two lines: the top one is for the mothers line and the bottom one for the fathers line.
BRINGING BACK THE BLESSING
The cards adapt well to rituals of prayer and healing.Sometimes there is an individual or a group whom you wish to specially bless: a person or family may be undergoing hard times, illness, difficulty, heartbreak at this time. Witnessing to someone and holding them in your heart is a prayer that everyone can make. Place a candle for the individual or group at the centre and any emblem that feels appropriate it could be just a stone.Then, randomly or purposely, choose Divine Ancestors and Clan Cards to form a circle of support and blessing for them.Choose fewer cards if you wish, but no less than 4-5. Contemplate the cards youve placed to support that person or group.What blessing do each of the ancestors give to the individual?This is something you can speak aloud, as if you were speaking for the ancestor, using the wisdom that it given in the accompanying book for each card. So, if a chosen card wasThe Way Shower,then you might adapt the Family Wisdom sentence as if speaking to the person youre blessing: The Way Shower opens the ways beneath (the persons name) feet and in (his/her) dreams.Whenever (s/he) cannot find a way through, the Way Shower is there to help find an opening!Or you may find more appropriate words as a blessing that arise spontaneously. Be led by what is suitable for the person or group. Let each of the cards youve placed speak a blessing, while you clearly envisage the help and support of the ancestors unconditionally streaming towards the one you bless.Leave out these cards on a table or floor for the rest of day to support the blessing.
In the example above, Brian, has laid out cards for his friend, Terry, who has been excluded from a group of which he has been a dedicated member for many years. His sense of betrayal is huge and he is very bitter. Brian lays four Divine Ancestors to support his friend: the Lord and Lady of Love, the Lord of Life, and the Lady of Lore: he also puts a bronze horse statue near the light, as Terry loves horses.He randomly choses a few Clan cards to represent ancestors who support Terry: The Spinner, the Adultrach (Pictish for second wife), the Protector, the Hunter, the Tracker and the Healer.Using the Family Wisdom sentences of each card, Brian speaks them for his friend; so, with the Spinner, he says, Terry is faithful and innocent in the face of mistrust and suspicion: may envy and distrust be lifted from him!With the Lord of Life, he blesses his friend with, May Terry receive the gift of a new beginning, the ability to step over the threshold into his true heritage.
It is not our business to enquire whether a prayer or blessing has worked. Our job is to keep out of the way, and allow the help, support, healing to make its bridge.We cannot determine or force a particular end to prayer, it must be free and unconditional, or else we may find ourselves cursing, rather than blessing. Our witness enables the subject of the blessing or ceremony to be seen as they really are, and not merely someone in need. We keep them in witness as equals, not as unfortunates, or else we diminish and disrespect them.
As Merlin says in his prophecies: the dust of the ancients shall be restored.May your own deep connections be strengthened and may the wisdom flow down and through you to your descendants!
THE ANCESTRAL ORACLE OF THE CELTS:Call On Your Ancestors For Guidance, Help and Healingby Caitlín, art by Wil Kinghan is available from all the usual places, or personally signed from our website:http://www.hallowquest.org.uk/product.php?id=128pageid=5167.
3 comments: Sunday, 27 October 2019 GIANTS a weekend course in December at Hawkwood College, Stroud, Glos.1Each year we have presented on a different topic, never repeating the weekend again, so it becomes a unique experience created with our co-teachers and participants. We do this every year to honour a trust that was passed to us by Gareth Knight2who ran public magical courses at Hawkwood every year from the 1970s to the 1980s (long before anyone else dared do this). In 1985, Gareth handed over to us his December weekend to continue the work, and we have kept going ever since.
Gareth KnightOur very first weekend in 1985 was on the myths of theMabinogion, and every year since then we have explored the myths and mysteries of the land in a kind of open mystery school to which anyone is welcome to belong by just coming along.We explore the topic with our special guests who are experts in that field, we meditate to deepen our understanding, and we always create a special ritual for the occasion which, again, is never repeated.3
Marion Green (far right), with John and Caitlín friends at the Grail in the Green weekend, Hawkwood College, 1998We have been very fortunate in our special guests who, over the years, have included Brian and Wendy Froud (creators of theDark Crystal), Professor Ronald Hutton, Philip Carr-Gomm (Chosen Chief of OBOD), Marian Green (The Invisible College), actor Mark Ryan, Dolores Ashcroft-Nowicki (Servants of the Light), artist Meinrad Craighead, folklorist Nigel Pennick, musicians Martin Jessica Simpson, Geraldine Beskin (of Atlantis Bookshop), and Ian Rees (co-author of the Keys to the Kingdom).
BRUTUS THE MYTH OF NEW TROY: GIANTS, CHALK HILL FIGURES THE LEGENDARY FOUNDING OF BRITAIN
Our 34thannual open mystery school course in 2019 isBrutus and The Myth of New Troy: Giants, Chalk Hill Figures, the Legendary Founding of Britain.
Brutus Sailing to Britain by Charles NewingtonThe legend of Brutus, first told in detail by Geoffrey of Monmouth in his History of the Kings of Britain, relates how his great-grand father, Aeneas, escaped from the ruins of Troy to found a colony in Italy. A seer prophesied that Brutus would kill his mother and father: his mother died giving birth to him, but he later accidentally killed his father while out hunting, and was expelled from Italy. After many wanderings, and promoted by the good graces of the Goddess, Diana, Brutus finally arrived in Britain, where he found it inhabited by giants. After one of his men, Corineus, overcame the chief giant, GogMagog, Brutus was crowned, with the giants becoming the guardians of his city Troynovant or New Troy, the legendary name for London.Got Magog: Guardians of London at the London GuildhallToday these Gog and Magog (now two giant figures woven by the Worshipful Company of Basketmakers) are processed in the Lord Mayors Show every year as the traditional guardians of London. This giant tradition is found all over Western Europe. We will explore the mythic backgrounds for this legend, and together create masks for the group enactment of this years ritual, The Masque of Brutus,4in which the giants will feature. We will be making our own masks for this, in which we will delve into the legend of Brutus and the myth of our living land.
Torchbearer of Oceania from a Masque by Inigo JonesOur guest co-teacher - artist Charles Newington5 will show us the art of laying chalk hill figures, among other projects in which he is currently engaged.
Corineus Gog, proposed chalk hill figures for Plymouth Ho, Charles NewingtonCharles Newingtons art is renowned worldwide for its mythic depths and quirky humour. He is the creator of the Folkstone White Horse6, a new chalk hill figure, as well as a projected plan to restore the Giant Gogmagog and Cornineus to Plymouth Ho7.
Charles his design for the Folkestone White HorseJohn and Charles are currently working on a joint project for an exhibition, which is currently under wraps, but which will put the myth of Brutus firmly back on the map. Charles has created a wonderful frieze, showing the life of Brutus, his arrival in Britain, the fight with the Giant Gog Magog, and his establishment of a line of kings. Below you can see it unrolled down our garden path. Charles has made a canvas version so that it can be displayed about the walls of the hall at Hawkwood for the course, as a kind of Bayeux Tapestry of events.
The Frieze of Brutus, by Charles Newington
You are very welcome to join us for this most enjoyable of our weekends. Everyone who comes automatically becomes one of the Company of Hawkwood, in the long tradition of this weekend gathering. On Saturday night we let down our hair to enjoy our annual ceilidh where everyone is invited to participate: we have heard songs, stories, poems, and witnessed silly sketches, dances and a number of other things. Many of our Company return every year to be part of this unique gathering, where hearts and minds are nourished for the descent into deep winter as we come home to the heart of our hearths. If you have never joined us before, you are assured of a warm welcome.
DETAILS OF THE COURSE
6-8 December 2019BRUTUS THE MYTH OF NEW TROY:Giants, Chalk Hill Figures the Legendary Foundation of Britain, with John Caitlín Matthews special guest, artist, Charles Newington.
We explore the myth of Brutus, the founding of London as New Troy, discovering our native giants and the making chalk hill figures, as we delve into the myths of Britains founding at this critical time. No politics, just myth and ritual, so come and join us for our legendary 34thannual open mystery school where we reach beyond the Dark Ages to bring the visions of the lands guardians into new focus.Our Open mystery school is open to anyone: come ready for a ritual Masque of Brutus and for our Saturday night ceilidh when we let down our hair!
BOOKING: Single 340, Shared 300, Non-Res 260. Please send your non-returnable deposit of 100 to Hawkwood College, Painswick Old Rd, Stroud, Glos GL6 7QW (01453 759034)info@hawkwoodcollege.co.uk. Enclose SAE for map confirmation.
REFERENCES
1. Hawkwood College is a gracious and welcoming Cotswold house in the limestone hills above Stroud in Gloucestershire. It changed from being a family home in 1948, when it was acquired as an adult educational institute.With its own grounds, mature trees, and a spring, it has a wonderful atmosphere: the rooms are comfortable and the food very good. We always feel on our contacts when we work here.
3. Several of these rituals appear in our bookArthurian Magic, Llewellyn Press, 2018
4. Our Masque will be after the style of Inigo Jones and Ben Johnson.
5. Charles Newingtons art may be sampled at his website:http://www.charlesnewington.co.uk
6. The Folkstone White Horse project may be viewed here:http://www.charlesnewington.co.uk/folkestone-white-horse/
The Folkestone White Horse by Charles Newington7. The Plymouth Giant project can be seen here:
THE ART OF TAROT TABLEAU READING
My new book Untold Tarot: The Lost Art of Reading Ancient Tarots is released on 28 September 2018. Here, I look at the older cartomantic ways of reading tarot, with a special emphasis on reading pips - the single most difficult aspect of older tarots for most taromancers. I also uncover directional reading, whereby the direction that any court or trump card faces determines relationship, action and meaning, and many methods that have been completely lost by taromancers but retained by cartomancers. This book does not call upon esoteric means to read the cards, but upon the skills that were used before 18th century French occult revival.
For most people the move from this:
Celtic Wisdom Tarot, Caitlín Matthewsto this:Pierre Madenié Tarot de Marseille
is a little too much! We have become used to sumptuous pictorial pip tarots over the course of a mere century ago, and we have forgotten how we used to read before this or how to read cards without recourse to esoteric disciplines. Reading the story that the cards tell as they fall out is an art that I hope to restimulate in Untold Tarot, hence its title.
In this blog, I want to open up tableau reading, using cards I laid back in January 2017 as an example. A tableau is simply a picture; it is still one of the more powerful cartomantic methods of divining because, having laid out a square or rectangle of cards, we can pinpoint precisely where the querent is in the issue, looking where in the tableau it has fallen, noting what is above and below, or to either side.Tableaux, although they are the most traditional ways of laying cards, look troubling to the modern taromancers eye as there are so many cards, but be assured, we read them selectively here. Where the significator shows up in the tableau tells us a lot: the position they land on, the cards that surround them, the direction that theyre facing, the card theyve turned their backs on, the whole hidden agenda.
Tableau reading has tended to remain with cartomancers who use playing cards, but tableaux with tarot were common in earlier centuries. An example can be found CasanovasMemoires, where the libertine, tells us that his young mistress,Zaïre, jealously accused him of his debaucheries by laying a square of twenty-five cards wherein she makes me read all the debaucheries that had kept me out all night long. After her detailed reading, which is unfortunately not given, Casanova heaved her entire pack of cards into the fire in disgust.Below is a tableau of twenty-five and how to read one,enabling you to discover the precise nature of an issue by giving you the surrounding landscape of the story, allowing you to glimpse where the querent is within their story. TABLEAU METHOD1. Shuffle in your pre-selected significator, and divide the pack into 3 equal piles of 26 cards each. Look through each pile to find which the Significator is in, without changing the order of the cards.
2. Discarding the other two piles, lay out only the Significator pile of 26 cards into 5 cards x 5 rows, placing the last 26thcard in the row nearest to the Significator, or at the edge if it has fallen there as in the example below. This card shows how the querent is facing the question or it act as an ally or the querents conscience.
3. Note where the Significator falls in the ranks. Each horizontal row gives us a clue as to the querents condition: in the top row, the querent is at the top of his game; in the second row, hes still pretty good; in row three, things are middling; in row four, its beginning to be poor; in row five, things are not good.
4. The columns reveal where the querent is in her story:in column one, she is just starting out, while in column five, her story is coming to an end. The columns can also be related to time, with the column in which the Significator has fallen being now, the ones to the left the nearer or further past, the ones to the right the nearer or farther future.The cards can be laid as follows:
1-2-3-4- 5
5. Look over the whole tableau and note any clumps of cards that sing out immediately, then turn to the breakdown.There are many ways of reading what is there, including:
TABLEAU DRAWN FOR THE INAUGURATION OF TRUMP on 20th January 2017
Inauguration Tableau - Camoin Tarot de Marseille
Key:2C 5B -10D Star 5C
Key to abbreviations: S=Swords, B= Batons, C = Cups, D = Deniers/Coins, P = Page, K = King, Kt = Knight Q = Queen
The preselected significator ofKing Deniers standsfor Trump himself, found at the beginning of the 3rd line. The extra 26th card is the genius or power that governs him, the King Swords.
Women's March on Washington, 20 January 2017Trump himself knights both Queen Cups and the World, so while he will try to come over all appealing and sympatico on the world scene, under him is 10 Swords where our worst fears are realized and where paranoia and conspiracy-mindedness rules the roost. Over his head is 2 Swords which shows his mindset is pretty self-conflicted. He can believe two impossible things before breakfast.To his left, is his genius, or what motivates him: King Swords gives him a hard and uncompromising front, where everything is always falling into aggression.
Analysis: 6 Swords, 6 Batons, 3 Cups, 2 Deniers, 5 trumps. This will be a contentious and combative term of government, in which the balance of world power is going to be polarizing Trump by reflecting compassionate or humanitarian views, which will be largely ignored. The cross about the central card: Queen Cups, Popess, 2 Batons and World surround 8 Swords reason and compassion are trying for a short period of time (a traditional meaning for 2 Batons) to integrate him into the World stage, but the far cross of 10 Deniers, King Deniers, 8 Batons and 10 Batons are destabilizing factors: with shady deaings across the water, where Trump creates malcontent.
There is much more in this tableau that could be pulled out, but I leave further analysis you yourself. There is much that we could add, in retrospect, as this presidency is still with us. I hope that you will find some new ways to read here, find the confidence to try an older tarot, and enjoy finding the untold story for yourself.
Caitlín reading TdM
UNTOLD TAROT is available from all the usual sources, but also from Caitlín, if you'd like a signed copy. http://www.hallowquest.org.uk/product.php?id=176pageid=5167
15 comments: Wednesday, 6 June 2018 RESTORING OUR SACRED IMAGES TO THE WORLD Behind your hand there must be present thousands of powers that move it. These mysterious things that are inside us and which want to find expression are not all ours but also of those who preceded us and transmitted them to us. This is called tradition. - Philip Kontoglou, iconographer
Earlier this Spring, I logged onto Facebook, to be confronted with a plethora of images of the Goddess of Spring, in the context of people wishing each other a Happy Equinox. One image in particular made me fall back in amazement: a hyper-real glamour-puss with a décolletage down to her navel, and a lascivious expression that suggested she might have fallen out of a pornographic magazine rather than any earth tradition.Is this really how people perceive and understand their divinities, I wondered? Bad religious art is bad in all denominations, of course: super-sweet Madonnas, pallid-looking Saviours, or cutesy Ganeshas can be equally alienating!And while some things are a matter of personal taste and aesthetics, the depiction of sacred beings as floozies or brainless he-men is insulting to the divinity in question, and hardly the kind of thing we would want our children to be inspired by.
Arthur by Will Worthington, from The Camelot Oracle by John MatthewEvery culture and time has its own art, and nothing so dates an era as cultural imagination, but where is the sacred art of our time? We are blessed to have many fine artists like Will Worthington, and Wil Kinghan, who have opened windows into the ancient Celtic world, as well as many other painters and craftspeople whose vision does them credit. But, on the other hand, there are also many more images like those of the unfortunate equinoctial being I mentioned above, as well as air-brushed images of what appear to me to be human people, not spiritual beings or divinities at all they look like people you could meet at the car-boot or in the supermarket, and I am sorry, but they dont inspire me or make me feel I am being powerfully upheld. Over the last few years, this change in how we depict sacred images has begun to more than bother me. Where are the images that depict the timeless acts of our sacred imagination?
Now, everyone of us meditates, or stands in the sacred land, communing with the powers that be, and we experience something very different from bad-taste art: I know this, not only from personal experience, but from the relations of students and readers who share their perceptions and understandings with me. I know it distresses devotees that they cannot find the image or statue of the beings that they venerate, or that they have to make do with pictures that are not worthy of those divinities. I began to ask myself, how can we restore the sacred images to our world?
Of course, the pre-Christian world had many beautiful images, whose destruction ensured that many ancient, ancestral visions of the sacred were lost to us. Such iconoclasm is still going on in our world, as we see from the destruction of many historic sites, like Palmyra, which Daesh smashed to rubble: the loss of artefacts, images and sacred sites is not just a loss of beauty, it is loss of ancestral heritage and cultural inspiration. The sacred images of pagan traditions in a present era have largely yet to emerge.
Restoring these images, from the heart of our imagination seems to me a sacred task that is laid upon us at this time. Bringing the images of our divinities, heroes, and holy ancestors back into the world for ourselves and our community enables the iconic moments of our beliefs and the sacred myths to be manifest once again, to continually inspire us. But it is not just a matter of reproducing ancient artefacts or copying sacred images: it is about finding them in our own vision.
Merlin and the Dragons, iconIn the light these thoughts, over the last few years, I have begun to learn the technique of painting icons in egg-tempera, where earth and mineral pigments are mixed with egg yolk to making a painting emulsion with the addition of water and wine a medium that preserves down the centuries. Icons are not illustrations, but rather windows into the otherworld. We dont invent icons: they arise from the genuine visions and interactions that we have already had with the divine beings of our devotion; we have already observed them with the eyes of the heart. Now, while I had a good art education, I would not regard myself to be any kind of great artist, but I am a good prayer! Bringing sacred images into being on a gessoed board, requires meditation, prayer and a deep communion with the being in question.
An icon is made up of many layers. We paint from the darkness to the light, much as we first approach a sacred being in the very beginning: at first, we do not see the likeness of our devotion clearly their features are not known to us. We begin with a sense of presence and companionship, or awe or mystery. As we continue to meditate and the divinity or ancestor comes closer to us, our perception begins to clarify. Even so, we start over again every day, moving from the darkness of unknowing, through many different shades of colour, into the clear light of their presence.
Sketch for Maiden of the Wells C. MatthewsMaiden of the Wells icon, C. Matthews
If you are familiar with Orthodox icons, which kept alive the Eastern Mediterranean skill of egg-tempera, you will be aware that they look different from other kinds of depictions. Icons use inverse perspective: rather than the Renaissance vanishing point, whereby all the lines of perspective are aligned and widen out to our view, something else seems to be happening -the perspective lines rather converge on the viewer becausethe subject looks out at us.In effect, the icon comes to us, which is, of course, how our perception of the sacred being happens. The divinity, hero, spirit or ancestor,already witnesses us,and this is why we feel their warmth and love that drew us to the being in the first place. These images are never sappy nor sentimental, but powerful: they appear on their own terms, not ours.St Michael, in progress, showing the underpaintingC. Matthews
In an icon, we capture the essence of timelessness, making it possible for us to experience the prototype of a being or sacred happening, so that we may witness it. This was well described by the philosopher Sallustius, the amanuensis of the Emperor Julian, who attempted to restore Pagan belief to a Christianising world, who said: Myth is something that has never happened, but is happening all the time.For example, we experience the loss and finding of Mabon, son of Modron, not as an historic event that once happened, but as a loss that lays us waste, and also as a finding that reunites our fragmentation: it affects us now, in this very moment. We experience the Goddess of the Earth not only as bountiful mother, but also we are aware of her in every devastation and loss that our physical world suffers. We are thirsty for the wisdom that never dies, and we seek the action of the Grail or Cauldron that irrigates our dryness, and heals our wounds.
The Way Shower by Wil Kinghan, from
Celtic Wisdom Oracle by C. MatthewsThe Brehon by Wil Kinghan, from
CelticWisdom Oracle by C. Matthews
Restoring the sacred images to our world ensures that they are present to tell us that we are not alone. When we go in and out, when we eat or rest, when we celebrate or mourn, the sacred images are present in our world, as well as in the otherworld, enabling the sublime to be present among us, as an embodiment that inspires us every day. I, for one, would be most interested to see the emergence of images that worthily uphold our spirituality, and inspire generations to come.
Caitlín Matthews Felicity Wombwell are leadingImages of the Heart: Painting our Sacred Images, an icon painting course, open to people of all backgrounds. No artistic ability is required, but there are some preparatory steps before you come. Held on 24-27 August 2018 at Hawkwood College. See:http://www.hawkwoodcollege.co.uk/courses-and-events/spirituality/icons-of-the-heart-painting-our-sacred-images---caitlin-matthews-and-felicity-wombwell
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FollowersBlog Archive 2020(1) January(1)WALKING THE ANCESTRAL ROAD: Healing Family Lines b... 2019(1) October(1) 2018(5) September(1) June(1) March(1) January(2) 2016(2) November(1) April(1) 2015(4) October(1) August(1) July(1) May(1) 2014(10) July(6) June(2) March(1) January(1) 2013(4) December(1) November(1) October(1) January(1) 2012(2) April(1) February(1) 2011(2) December(1) June(1) 2010(2) December(1) November(1)About MeCaitlín MatthewsOxford, Oxon, United KingdomI am the author of 80 books, including Diary of a Soul Doctor, One Hundred Steps to the Grail, and Untold Tarot: the Art of Reading Ancient Tarots. I have a shamanic practice in Oxford and teach mythic, spiritual and ancestral traditions around the world. For details of upcoming courses in UK and the world, go to www.hallowquest.org.ukView my complete profile
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