Category Archives: History of Isis

More Epithets of Isis

*Parsifal* by Jean Delville, but it definitely gives ‘mysteries’

Most of you reading this blog are well aware of the many epithets of Isis, Our Lady of 10,000 Names. In general, epithets are descriptions attached to the Goddess’ name that help us know more about Her. Very often, you’ll see people note that epithets are especially important in Deity invocations because they help us tune into the specific aspect of Their natures that we wish to connect with.

And that’s true.

Yet, I like to think of epithets as little Mysteries.

Each epithet of the Goddess has the possibility of revealing to us a Mystery—something about Isis we might not have known, or might not have known as deeply. In a post a couple weeks ago, one of the things we learned from the ancient Greek novel Aitheopika was that initiates of Her Mysteries called Isis the Earth and Osiris the Nile. I would not be at all surprised to learn that the revealing of additional epithets of the Goddess was a regular part of Her—and other Deities’—Mysteries. A Mystery initiation gave you insider knowledge about the Mystery Deity. Discovering new aspects of the Goddess through additional names and epithets would be some pretty solid insider information.

You’ll find epithets of Isis scattered throughout this blog. For instance, here are names and epithets honoring Isis from all over the Mediterranean world. Here are some of Her secret names from the magical papyri. There are about two hundred of Isis’ epithets listed in the appendix in Isis Magic. And Offering to Isis includes several epithets appropriate to each of the offerings—sacred symbols of the Goddess—as part of the invocation offerings.

Today, I’d like to share a few more epithets of Isis, some of which may be new to you. If you’d like to delve into the little Mysteries of these epithets for yourself, try this: Pick out a few that call to you. Open your shrine or temple in whatever manner you usually do. Invoke Isis using the epithet you chose. You can sing or chant the epithet as you call out to Her. When you sense Her presence, ask Her to reveal to you some of the Mysteries of that epithet. Then open your heart, open yourself, as you experience/intuit what She communicates to you. (Even better, jot down the things that come to your mind about that epithet for later reference. Visionary work sometimes fades rather quickly.)

In no particular order, here are some epithets of our Goddess from various parts of Egypt:

Isis, She Who Loves the Red Cloth; Iset Meret Ines—this epithet of Isis is found at Dendara. Interestingly enough, in representations of Isis, red is the most common color of Her clothing. The famous Knot of Isis is also usually made of red stone or painted red—and it may be meant to represent a knot tied in cloth. The ancient Egyptians associated red with fire, blood, and the sun. It could be a color of destructive power and associated with anger as well. We are used to Sakhmet being associated with red, but it turns out Isis is a Red Goddess, too.

Isis the Great Golden One; Iset Nebut Weret—while we are familiar with Isis being called, like Hathor, the Golden One, here She is the Great Golden One, an epithet She shares only with the Creator Goddess Neith. Gold is associated with the sun and Divinity. What does it mean that She is not only the Golden One, but the Great Golden One?

Isis, She of the Beautiful/Good/Perfect Face in the Barque of Eternity; Iset Noferet Hor em Wia Heh—the Barque of Eternity if the boat that travels into the Otherworld, both the underworld and the heavens. What does it mean that Isis is the beautiful-good-perfect face in that holy boat?

Isis the Lady of Awfulness; Iset Nebet Neru—this is the literal meaning of awful, as in “full of awe,” but also a designation of Her great, and sometimes scary, power. See more about this one here.

Isis the Great One in the Beginning; Iset Weret em Hat—this epithet is from Her temple at Philae and is another epithet Isis shares only with the Creator Goddess Neith. This is Isis as a Primeval Goddess, the First Goddess. Similarly, She is called the Great Goddess “of the coming into being” and is the Great Goddess “in the First Time,” the Zep Tepi. We also have inscriptions calling Isis Sha’et, “She Who Was First,” from a number of places, including Philae, Dendara, and Edfu.

Isis the Great in the Place of Her Heart; Iset Weret em Set Ib-Es—this one is from the Horus temple at Edfu. What do you think ‘the place of Her heart’ is?

Isis, Her Years are Eternity and Everlastingness; Iset, Renput-s Neheh Djet—learn more about Neheh and Djet here and here.

Isis the Perfect Musician; Iset Khunet Noferet—from Dendara. Isis is also called “the Musician of the Spoken Words” and the Shemayet, the “Chantress.” The Chantress was a high-ranking priestess in ancient Egypt. Read more about AE priestesses and the Chantress here.

Isis and the pharaoh raising the djed pillar

Isis, She Who Makes Shadow with Her Feathers; Iset Iret Shut em Shuut-Es—from a stele now in the Louvre. We know about Her wing symbolism, but what about the shadow of Her wings?

Isis the Djed Pillar; Iset Djedet—now isn’t this interesting? Osiris is usually associated with the djed pillar. But here we have Isis as the female djed pillar. The djed represents stability, so that is likely the meaning here: Isis is strong, stable, dependable.

On the other hand, She also personifies Her own symbol, and is called Isis the Excellent Isis Knot (Iset Tiet Menkhet)…for Isis is All Things and All Things are Isis.

There are so many more, but that’s enough for now.

If, in your connections with Isis, you discover any of the Mysteries of these epithets, I hope you’ll share them here, on Facebook, or on BlueSky.

Is Isis a Virgin Goddess?

Seen this about a million times? Yeah, me, too.

It’s that time of year when we (once again) see all those articles comparing the Divine Mother Mary with the Divine Mother Isis, followed by either outrage or approbation, depending on who’s doing the writing.

Not long ago, in relation to this, a friend of this blog asked a very excellent question. It had to do with Isis’ status as a Virgin Goddess. Basically, is She or isn’t She? She is often compared with the famously Virgin Mary, and the images of the two Goddesses, nursing Their holy babes, are strikingly similar. And then there’s all of this.

Well, as is often the way with Goddesses, the answer is both no and yes.

We’re all pretty familiar with the sexual relations between Isis and Osiris. All the way back to the Pyramid Texts we hear about it, rather explicitly we might add. Pyramid Text 366 says, “Your [Osiris] sister Isis comes to You rejoicing for love of You. You have placed Her on your phallus and Your seed issues into Her…” Plutarch, in the version of the story he recorded, tells us that Isis and Osiris were so in love with each other that They even made love while still within the womb of Their Great Mother Nuet. And, of course, we have the sacred story of how Isis collected the pieces of the body of murdered-and-dismembered Osiris, all except the phallus. Crafting a replacement of gold, the flesh of the Gods, She was able to arouse Her Beloved sufficient for the conception of Horus. The mourning songs of Isis and Nephthys have Her longing for His love. The priestess, in the Goddessform of Isis, sings that “fire is in Me for love of Thee” and She calls Him Lord of Love and Lord of Passion. She pleads, “Lie Thou with Thy sister Isis, remove Thou the pain that is in Her body.” (For more on the Songs or Lamentations, go here.)

So, is that all there is to it? Isis is not a virgin?

Well, not quite. Because Isis is a Goddess.

Isis is the Goddess of 10,000 Names and 10,000 Forms. Among those forms are the sexual Lover of Osiris and the Mother of Horus. Also among Her many Names are syncretisms with famously virginal Goddesses such as Artemis, Hekate, and Athena, as well as heroines such as Io, a virgin priestess of Hera (a Goddess Who Herself renews Her virginity on the regular). Isis is identified with both Demeter the Mother and Persephone the Kore, the Young Girl, Who were sometimes seen as a single unit, Mother-Daughter, containing All in Themselves. Goddesses can be many things, all at once, without any contradiction—or perhaps with every contradiction, which is one of the ways of Goddesses.

No text shows us these Divine Feminine contradictions/not-contradictions as clearly as “The Thunder, Perfect Mind,” a text found among the Nag Hammadi papyri. It is a long poem in the voice of a Feminine Divine Power that some scholars have linked to Isis; or at least they think that Her worship influenced the content of the text. Could be, but in my opinion, the Divine Speaker may be better understood as Sophia—with Whom Isis is also identified. The Coptic (late Egyptian) manuscript from which the text comes is dated to roughly 350 CE. Here’s a brief excerpt from this amazing work:

For I am the first and the last. I am the honored one and the scorned one. I am the whore and the holy one. I am the wife and the virgin. I am the mother and the daughter. I am the members of my mother. I am the barren one and many are her sons. I am she whose wedding is great, and I have not taken a husband.
The Thunder, Perfect Mind

Clearly, Isis is syncretized with Virgin Goddesses throughout the Mediterranean world. And it is not at all unusual for such Goddesses to be both virginal and associated with fertility. What about Egyptian sources?

The ancient Egyptians were not quite so concerned with virgins—by which I mean, in this case, a young person who has not yet had sex—as were the Greeks and some other Mediterranean peoples. For instance, there was no requirement that young women or young men be sexually inexperienced when they married. Many young women probably were—particularly those who were married very young to older husbands. But prior to marriage, young people might engage relatively freely with each other. After marriage, sexual exclusivity was demanded—especially for women. The penalties for non-compliance could be very harsh—especially for women.

This is not to say that Egyptian virginity was not valued or even required under certain circumstances. The text that included the lamentation songs of Isis and Nephthys noted above specifies that the priestesses taking the roles of Isis and Nephthys be “pure of body and virgin” and also that they are to have their body hair removed, wigs on their heads, tambourines in their hands, and the names of Isis and Nephthys inscribed on their arms.

This text, one of very few we have, is from the Ptolemaic period, when Egypt had been influenced by Greek rule. I wonder whether virginity would have been considered necessary earlier. Perhaps the priestesses would have only had to abstain from sex for a period of time before their ritual service. We know that people serving in Egyptian temples had to abstain from sex for a time (at least a day, often a number of days) as part of their purification. But they weren’t virgins.

The God’s Wife of Amun, the highest of high priestesses, usually a female relation of the king, was virgin for life. Beginning in the 2nd Intermediate Period, the lifetime position of the God’s Wife gained a great deal of power, eventually becoming second only to the king. Interestingly, it was an “Isis”—Iset, the virgin daughter of Rameses VI—who began the tradition of the God’s Wife being celibate. Later, in the Roman period, some Roman priestesses of Isis maintained lifelong virginity. And we know that the Roman Isiacs might maintain a 10-day period of pre-ritual chastity known as the Castimonium Isidis or Chastity of Isis.

Isis Herself is called the Great Virgin in one of the inscriptions from the Isis Chapel in Seti I’s mortuary temple at Abydos. In Egyptian, this is Hunet Weret. Hunet is the word for girl or maiden, weret is the feminine form of great. Hunet is also the Egyptian name for the pupil of the eye and is connected to the Hermetic treatise known as the Kore Kosmou, the “Virgin of the World.” You can read about those maidenly connections here. (And read about the Kore Kosmou here, here, and here. )Just like Greek parthenos, hunet could mean a virgin, a girl, a maiden, or just youthful. (A young boy or youth is hunu.) And all Egyptian Goddesses are forever young.

Parthenogenesis was not unknown in Egypt, either. The First Creators in many Egyptian myths, such as the God Atum and the Goddess Neith, created everything from Themselves alone. Some Egyptian queens, such as Ahmose, Hatshepsut’s mother, were said to have given birth to pharaohs after sexual union with a God. Just like Mary and the Holy Spirit of the Christian God.

So, is Isis a Virgin Goddess? Yes. Does She have sex with Her Divine Husband? Yes. She is, as so many Goddesses are, Both And. She is a patroness of marital sexual desire and bliss and She is an ever-renewing, ever-youthful Virgin Goddess. In this holy season and every day, may She bless you with the gifts you most desire.

Isis in the Aethiopika

The Aethiopika is an ancient Greek novel and the only known work by a writer named Heliodorus. It was written in the second or third centuries CE. It is a tale of love and adventure, and yes of course, Isis is involved. So I thought I’d summarize this tale today, focusing on the part Isis and Her cult play in the story.

The reason this came up was that I was looking at a book about the interactions between the Greek and Egyptian cultures and their influence on each other. It seems that the more researchers look into it, the more they come to the conclusion that, while the influence went both ways, the Egyptian culture seemed to have more weight behind it—if for no other reason than it was the older, more established, and richer culture.

Scholars have long suggested that the Greek “romances” owed at least some debt to Egyptian sources. And yes, these books are romance novels in the classic sense: lovers fall in love, are parted by circumstances, adventure ensues, lovers are finally reunited.

Scholars such as the Classics professor Reinhold Merkelbach suggested that all ancient Greek novels (there are only five complete ones extant, with references to about 20 more) were informed by myth—but most especially by the Isis-Osiris complex of myths. Interesting, no? At the time of the Aethiopika, the myths of Isis and Osiris certainly would have been the ones most well known to Hellenes. Merkelbach further suggested that such tales were meant for the initiates of the Greco-Roman Mysteries, who would have understood the deeper meaning behind all the hidden clues. This theory has not generally been accepted, however.

Yet, at the very least, we can easily see the overall structure of the classic romance novel in the story of Isis and Osiris: lovers are in love, are parted by murder, the adventure of picking up the pieces ensues, and lovers are finally reunited, though one of Them is transformed.

The story of the Aethiopika reached far beyond the borders and time of the ancient Hellenistic and Roman worlds. The tale was influential all the way into the 17th and 18th centuries. That’s why all the illustrations I found for this article do not look remotely ancient Greek, Egyptian, or Ethiopian.

The Aethiopika is the love story of Theagenes and Chariklea. We meet Chariklea at the very beginning of the tale as a gang of Egyptian thieves approaches the scene of a beached pirate ship, with its crew slain, while they were in the midst of a celebratory banquet. As the robbers approach to scavenge, they see the beautiful Chariklea among the living. In sorrow, she is looking at a handsome young man who is wounded and perhaps dying. They exchange words and she tells him that, should he die, she will kill herself with the knife she bears.

Chariklea looks upon the wounded Theogenes

She rises to go to him—and the brigands step back, afraid. They think she is a Goddess, either “Artemis or Isis, the divine patroness of Egypt.” Others think she may have caused the slaughter as a frenzied priestess. Finally, they gain the courage to approach. Chariklea sees them, but continues to tend to Theagenes. Then, more thieves arrive, chase off the first group, and capture Chariklea and Theagenes. The prisoners are taken to the house of Thyamis, the chief thief, and given another prisoner as Greek interpreter. The interpreter, Cnemon, begins to treat Theagenes’ wounds with a healing herb.

We learn that Chariklea believes that Apollo is punishing the two of them because she and Theagenes fell in love with each other during the Pythian Games at Delphi and ran away together (she had been promised to another man). Chariklea had been abandoned by her Ethiopian parents, but was raised by a priest of Apollo at Delphi, becoming a priestess of Artemis. The pair of lovers fled Delphi, assisted by Kalasiris, an Egyptian priest of Isis.

It’s complicated.

Anyway, during the night, Thyamis has a dream. He dreams he is in Egyptian Memphis, his home town, and there visits a temple of Isis. The Goddess entrusts the care of Chariklea to him, but Her commands come as a riddle, which he decides to interpret as telling him that he should take her as a wife.

But now a group of warriors come to attack the thieves. Chariklea is taken to a cave, while Theagenes must fight with the thieves. During battle, Thyamis realizes the true meaning of Isis’ dream message: that he will lose the battle and lose Chariklea. Pissed off at Isis, he goes to Chariklea’s cave to kill her—since he can’t have her; you know how it is—but in the dark mistakenly kills another woman.

Theagenes and Cnemon escape the battle, but believe that Chariklea is dead. Thyamis is captured alive, for it turns out this group of warriors was sent by Thyamis’ younger brother, who had earlier stolen his rightful priesthood from him. But Theagenes and Cnemon find Chariklea alive. The group decides to go south, further into Egypt, to find Thyamis and seek revenge for his killing of the other woman, who Cnemon knew.

When they get to Khemmis, they are reunited with Kalisiris, the priest of Isis who helped them escape Delphi. He had believed Theagenes and Chariklea were dead and is thrilled to find them alive. We learn that, as a pious priest, Kalisiris drinks only water and never neglects to pour libations to the Deities. He is also a vegetarian, eating only nuts and fruits. In the course of events, Kalisiris tells how he came to be in Delphi.

A Thracian woman named Rhodopis came to Egypt, settled in Memphis, and set up shop as a courtesan. She would visit the temple of Isis where Kalisiris was high priest, where she made abundant offerings to the Goddess, for her business was thriving. Though Kalisiris practiced all types of priestly austerities, he could not resist Rhodopis’ charms and he fell hard for her (apparently after merely seeing her). His answer to escaping Rhodopis’ fatal allure was to leave his priesthood and his native Egypt to wander.

We further learn that Kalisiris is skilled in divination and had divined that his two sons were destined to battle each other. (Can you guess yet who Kalisiris’ sons might be?) Having heard of Delphi as a refuge for wise men, Kalisiris traveled there, arriving just at the time that the Pythia was prophesying. He received an oracle from the God telling him to take heart for he will be able to return to Egypt, but in the meantime to be the friend of Apollo.

Chariklea awarding the prize to Theagenes at the Delphic Games

The status of “friend of Apollo” greatly enhanced Kalisiris’ reputation and he joined a group of philosophers who peppered him with questions about Egypt and its Deities. Through Chariklea’s foster-father, Kalisiris meets her and witnesses as she and Theagenes fall in love instantly. And so, he is determined to help them.

So now our lovers, their companion, and Kalisiris are back in Egypt. There, they are involved in a number of adventures in which one or the other of the lovers gets entangled with other characters. A Persian governor’s wife falls for Theagenes, so she makes showy offerings at the temple of Isis, all the while lusting for Theagenes. At the same time, Kalisiris is devoutly praying before Isis about his sons and his own future. Previously, he had been reunited with his elder son Thyamis, the former chief thief, and even better, the two warring brothers were reconciled. Kalisiris declares that the eldest son, Thyamis, should inherit his Isiac priesthood for Kalisiris’ senses his own death approaching. The governor’s wife tries to frame Chariklea for poisoning, so she can have Theagenes. This, of course, fails. More adventures eventually find both Chariklea and Theagenes captured by the Ethiopian king—who is Chariklea’s real father, but who does not yet know her.

As sexual virgins, Chariklea and Theagenes are perfect sacrifices and are about to be sacrificed to the Sun and Moon, Deities of the Ethiopians. But wait! Due to a necklace that Chariklea’s mother had placed about her neck when she abandoned Chariklea, the Ethiopian king finally recognizes his true daughter. All is well. Chariklea and Theagenes are married and live happily ever after.

To be honest, the Aethiopika is a bit of a tedious tale. Yet, the reason I was reading this story was for the Isis lore.

For example, we’ve learned about the pure-water-and-vegetarian diet of Kalisiris, a high priest of the Goddess. We know he is always pouring libations for the Goddess and any other Deities he encounters. We find that he is subject to visions and is a good diviner. We know that he must keep himself chaste—and so removes himself from Rhodopis’ disturbing presence.

From Thyamis’ dream, we see that Isis can send dreams, even in Loxian riddles, that can be misinterpreted by the dreamer. From the story of the Persian governor’s wife, we learn that not all rich offerings are sincere. In another part of the tale, we discover that offerings might be made to Isis if one has a bad dream. In yet another, the text tells us that initiates of the Mysteries call Isis the Earth and Osiris the Nile (but our speaker would reveal nothing more of those Mysteries). Oh, and we also learned that the love story of Isis and Osiris may well be the prototype for ancient Greek romances, and thus the roots of our modern romance novels, too.

Our Goddess can for found everywhere—for Isis is all things, and all things are Isis.

The Seshed Band of Isis

Isis leading Nefertari into the afterlife

I have a new Isis accoutrement for you.

I love it when I find out new things—or new things about an old thing. This one is sort of an expansion on a previous thing.

Many of you may already be familiar with what are known as “black Isis bands,” which are needed in a number of rites in the Greco-Egyptian Magical Papyri (aka Papyri Graecae Magicae or PGM).

We can’t be sure, but I’ve theorized that these were made from the black cloth that had previously been used to clothe the sacred images of Isis, once the older robes had been replaced. Since the fabric was black, it would have been from Hellenized images of the Goddess. Egyptians did use cloth, both as offerings and to adorn their sacred images, but black cloth was not among the colors they generally favored.

What I’d like to share with you today is a different type of Isis band, an entirely Egyptian one. This band was given to Isis as an offering (see Offering to Isis, “Black Isis Bands”), and it was also worn by Her as part of one of Her various crowns. The information I’m working from is a dissertation by Barbara Ann Richter on The Theology of Hathor of Dendera. At Dendera, Isis is almost as prominent as Hathor. (And you’ll recall that Isis’ sanctuary at Philae also has a Temple of Hathor. Sisters!)

Isis from Dendera with Double Crown and seshed (the black squiggle at the base of the crown)

On the walls at Dendera, we see scenes with Isis wearing this particular crown, which consists of the Egyptian red and white Double Crown, one or two ostrich feathers, and the “seshed” band, which is wrapped around the base of the red crown—or sometimes around the headdress of Isis.

We even have a 3D image of what this crown with its seshed band may have been like. Near the sacred lake at the Dendera temple, archeologists found a cache of ritual items including a cult statue of Isis with the double crown and seshed band—except in this case, the seshed is around the Goddess’ wig rather than around the base of the crown. (Although, in this picture, it looks to me like there is something—possibly multiple serpents?—around the base of the crown.) There are also two holes in the white crown, which Richter suggests may have been meant to hold real (or separate) ostrich feathers.

Isis with the Double Crown and seshed band with serpent, holes possibly held real or separate ostrich feathers

The crowns and headdresses that the Egyptians represented the Deities wearing have specific meanings. The Double Crown represents rulership over the Two Lands, that is, Lower and Upper Egypt. The ostrich feather is the shut, the symbol of Ma’et—that which is Right, True, and Just. The seshed band is entwined by a uraeus serpent that is both protective and unifying, like the Double Crown.

In the Temple of Birth at Dendera (which I think is the Temple of the Birth of Isis), the king presents this crown to Isis and says, “Take for Yourself the seshed band. It has encircled Your forehead. The uraeus is united with Your head. The red crown and the white crown—they join together on Your forehead, the two feathers united beside them.” This crown emphasizes the unification of the land of Egypt as well as the powerful protection of the uraeus serpent. Since the crown is united with the Goddess, She embodies these qualities. And, of course, the Goddess bestows these same powers on the king in return, so we find the king wearing the seshed band at times, too.

A picture of the whole statue of Isis with crown and seshed

The feathers “united beside them” allude to Isis’ description as “Lady of Ma’et, the uraeus on Her forehead, appearing with Ma’et every day.” In this inscription, however, the word translated as “uraeus” isn’t “uraeus.” It’s Mehenet, which is the feminine version of the protective serpent Mehen, meaning “the Coiled One.” Mehen protects the God Re by encircling Him as He travels through the underworld; He also protects Osiris. Since Isis is a Goddess, She is united with the feminine serpent Mehenet. As a fiery Uraeus Goddess Herself, Isis protects Re and She is also the foremost protectress of Her husband Osiris as well as Her son Horus (and thus, the king). Mehen and Mehenet are sometimes shown with Their tails in Their mouths, making Them the prototype of the ‘serpent biting its own tail’ and later known as the oroboros.

In some of the Coffin Texts spells, Mehen is closely connected to Re. Coffin Text 760 tells us that after Isis brings Mehen, the Coiled One, to Her son Horus, Horus becomes “the double of the Lord of All,” that is, the Sun God Re. The serpents Mehen and Mehenet are solar powers and Their coiling and encircling protects.

Osiris protected by the Coiled One biting His tail

There was a tradition at Dendera that Dendera is the birthplace of Isis. An inscription in the sanctuary there says that Isis’ “mother bore Her on earth in Iatdi [that is, the Temple of the Birth of Isis at Dendera; also another name for Dendera as a whole] the day of the night of the infant in His nest.* She is the Unique Uraeus . . . Sothis in the Sky, [female] Ruler of the Stars, Who Decrees Words in the Circuit of the Sun Disk.” Since Isis is also Sopdet/Sothis/Sirius, the heliacal rising of the Goddess in Her star, just before sunrise, is Her “birth.” Her birth precedes the rebirth of the falcon Re—”the infant in His nest”—as He rises in the sun on the first day of the New Year.

The birth of Isis is also connected with the seshed band. We learn that the “Ritual of Presenting the Seshed Band” takes place on “the Day of the Night of the Child in His Nest.” These seshed bands, presented to Isis for a happy New Year, included inscriptions like “A beautiful year—a million and a hundred-thousand times” and “A happy year, year of joy, year of health, eternal year, infinite year.” In addition to offering the seshed band on Isis’ birthday, it was also given on the first day of the New Year.

The seshed band must have been—at least originally—a fabric band, for it was tied around the head and knotted with the two long ends of the band hanging down in back. The knot at the back was surely intended to be magical, emphasizing the ability of magical knots to secure and protect, while the band itself surrounds and protects like Mehenet.

I don’t know whether this is actually a seshed, but the metal headband with streamers down the back looks like it may have been intended to mimic knotted fabric. This was on the head of Tutankhamun’s mummy.

The Pyramid Texts mention a powerful red headband with which the deceased identifies. Another Pyramid Text mentions a red and green headband that was woven from the Eye of Horus. While some Egyptologists connect these headbands with the seshed, I can’t be sure because I’m only looking at the English translation of the texts.

However, from Dendera, we do have an inscription that specifically describes a seshed band made of electrum. It is also possible that the fabric headbands had metal pieces, suitable for engraving with blessings, attached to them. It seems likely that the serpent that entwined the seshed would have been made of metal.

Egyptian Egyptologist Zeinab El-Kordy suggests that the word seshed is the active participle of shed, meaning “to draw or pull out” or “to cause to come.” She therefore connects it with drawing the Inundation out from its source and causing the flood to come. This could mean that the seshed band, especially when offered at the birth of Isis and the New Year, is a magical tool for helping to bring the much-desired Nile flood.

The seshed band protects and unifies. It is given as a talisman for New Year’s prosperity—which I think we can easily extend to good luck and blessings in general. And it is associated with rebirth and renewal. We also have scenes that connect it with birth as well as rebirth. They show the birthing mother, her midwives, and protective Birth Goddesses like Isis, Taweret, and Hathor, all wearing seshed bands.

Egyptian woman giving birth assisted by Hathoru; crowns, but no seshed bands

Given this, I would suggest that if we are working with Isis in any of these areas—protection, unification, birth, rebirth, renewal, and even good fortune and good outcomes in general—we would be eligible to wear the seshed as part of our ritual gear. Although a custom-made uraeus serpent is probably out of reach for most of us, a fabric band in red (power and protection) or green (growth, change, benevolence) with a piece of inexpensive serpent jewelry attached to it, would be a perfectly serviceable seshed band for our work with Isis.

* Sources such as the Cairo Calendar connect the Night of the Child in His Nest with the 5th epagomenal day and the birth of Nephthys, while Isis’ birth is on the 4th epagomenal day. But at Dendera, Isis must have been considered to have been born on the 5th and last epagomenal day, rising as Sothis just before the sun. When the sun rises, the 5th epagomenal day officially ends and the new day and New Year begins. As is so often the case with Egypt, the myths and traditions could vary from place to place.

Offering to Isis Now Available for Pre-Order

Dear friends and fellow Isians,

I’m very—very!—excited to let you know that Offering to Isis, Knowing the Goddess through Her Sacred Symbols is available for pre-order from Azoth Press at the Miskatonic Books website right now. If you’d like to go directly there, here’s the link.

I know a lot of you are familiar with Isis Magic, but maybe you haven’t yet come across Offering to Isis. I may be a tad bit partial, but I really like this book a lot, too.

Offering to Isis is about how we can connect with, honor, and grow our relationship with Isis through the ancient and eternal practice of making offering. Offering is one of the most important ways we human beings have always communicated with our Deities. It was vitally important in ancient Egypt and it’s just as important for those of us interested in or devoted to Isis today.

If you’ve ever wondered exactly what sort of things to offer to Isis, Offering to Isis includes in-depth explanations of 72 sacred symbols associated with Isis—symbols that make ideal offerings to Her.

We’ll also talk about the how and why of Egyptian offering practices, including the important and genuinely ancient Egyptian technique of “Invocation Offering.” There’s information on exactly how the ka energy inherent in every offering is given to and received by Isis—and what to do with offerings once they’ve been received. You’ll also find a selection of offering rituals, from simple to complex, for a variety of purposes. Most rites are for solitary devotees, so I think you’ll find one that works just right for you.

You can download a complete copy of the Table of Contents by clicking here.

If you’re curious and want to know exactly what’s in the book, you can download a PDF copy of the full Table of Contents by clicking on the caption under the “Contents” image.

The largest section of the book details the 72 sacred symbols of Isis. You’ll add to your knowledge of Isis and Her ancient worship by learning more about Her through Her important sacred symbols. You’ll see how each one is intimately connected with Her and how they may be used in offering rites for Her. Every entry also includes an Invocation Offering that you can use for your own offerings to Isis.

One of the things I especially like about this book is that you can just open it at random and you’ll likely find something you hadn’t known about Her, something that I hope will inspire you in your own devotions. For instance, how did the Knot of Isis come to be Her knot? What stones are associated with Her? What animals are connected with Her? Why are dreams especially important when it comes to Isis?

As it’s been a few years since this book was first published, the text has been thoroughly updated. All the hieroglyphs associated with the offerings have been re-illustrated and are much more accurate—and much more beautiful, if I may say so—in this new edition, too. There’s also a handy appendix in the back for quick reference in finding any offering you may need.

This is what a typical page in the sacred symbols section looks like.

This new Azoth Press edition can be purchased only through the Miskatonic Books website. (If you go to Amazon, you will be ordering a 20-year-old paperback edition published by Llewellyn in 2005, which people are trying to sell at very inflated prices.) Oh yes, and if you’d like, you can take advantage of Miskatonic’s installment plan that lets you pay over several months so it doesn’t take a big bite out of your budget. Plus, the new hardback edition is priced A LOT lower than those overpriced, out-of-print first editions that I’ve seen out there.

When you go to the Miskatonic site, you’ll see two different Azoth Press Offering to Isis editions. For the high rollers, there will be 36 copies in a gorgeous leather-bound and numbered collector’s edition. For the rest of us, there will be 650 numbered, limited edition copies in a cloth-bound hardcover. Both editions are two-color throughout, and more than 400 pages.

Thank you so much for letting me tell you about this new edition. And would you please do me a favor and share this information with anyone who you think might be interested? And please feel free to ask me any questions about Offering to Isis that you’d like.

I’m looking forward to getting my own copy of this beautiful, new edition of Offering to Isis. And while you might think it’s strange, even though I wrote the book, I still use it for reference when I’m making offering to Isis. I hope this new edition will serve you well, too.

Under Her Wings,

Isidora

Syncretism & Isis

The worship of Isis is one of the most important examples of religious syncretism in the world. Whenever the topic of syncretism arises, you will inevitably find a discussion of Isis included.

When it comes to religion, talking about syncretism often centers on whether it is a good thing or a bad thing.

But maybe, syncretism just is—unless a culture or religion is completely isolated. Because anytime peoples and cultures and religions encounter each other, there has always been—among at least some of those peoples and cultures and religions—some form of syncretism.

The Isis keystone on the Egyptian Museum in Cairo

And yes, of course, you’re right; it’s time for a definition. So, what is syncretism?

When we look at the various definitions, we see that it is usually said to be the combining, attempting to unify, assimilating, blending, fusing, reconciling, harmonizing, mixing, and other similar terms, the various aspects of two or more religions or Deities. Sometimes, religious syncretism is called theocrasia, Greek for “God-mixing.”

At the time of the rise in the popularity of the worship of Isis, interchanges between Egyptian, Greek, and Roman cultures— trade, technologies, philosophies, and yes, spiritualities—were also flourishing.

The influence of those cultures upon each other is often given as a primary example of syncretism on a broader scale. The ancient Egyptian city of Alexandria is an example of a highly syncretic—or we might say, multicultural or diverse—city. Christianity, also developing at about the same time as the spread of Isis’ worship, is another example of a syncretic worship, both in its origins and in its much later expressions, as it absorbed and transformed many of the Pagan traditions it encountered, forcibly or not.

Those who consider religious syncretism bad generally point to a “watering down” of the original tradition; there is also a legitimate concern with appropriation. Those who say religious syncretism is good generally associate it with positive innovation in religion rather than corruption. Others suggest that we retire the term entirely, because this kind of mixing is simply inevitable. Yet others prefer to retain the term since studying how it happens is valuable in researching the development of many of the world’s religions.

Interestingly, it may have been the Greek priest Plutarch—who wrote down a Greek narrative version of the Egyptian myth of Isis and Osiris—who coined the term syncretism. He used it to describe how the various Cretan tribes came together as one when faced with external threats. So, for him, it was positive mixing toward a greater good for Crete.

Isis of Coptos, wearing the Horns & Disk crown associated with Hathor

Syncretism was one of the ways Isis gained many of Her 10,000 names. Yet this all started within Egypt itself.

Those of you who have been following along with this blog already know how the Egyptian Deities are liable, at most any time, to morph into each other, to combine with each other, or to appear as each other. It is—as I have said so many times that you’re tired of reading it—one of my favorite things about the ancient Egyptian conception of the Divine. It is fluid. It can change. It can show Itself to us in myriad forms. For me, this fluidity is a genuine reflection of the Divine nature.

Egyptian combinations of Deities could demonstrate similarity: Isis-Hathor. Another might enable a Deity to express power in a specific way: Isis-Sakhmet. Mostly, in Egypt, Goddesses could flow only into other Goddesses, Gods into other Gods. Isis is unusual in that She could combine with Gods as well. We find an Isis-Anubis in the later mythological texts, as well as an Isis-Horus.

An image of Demeter, but with the tiny horns of Isis-Io upon Her forehead

In this way, Isis could be almost any other Egyptian Goddess as well as some Gods. We discover many of Her names in the Oxyrhynchus hymn, which gives us Her names and epithets, first within Egypt, then throughout the Mediterranean.

Outside of Egypt, one of the first important Deities Isis is syncretized with is the Greek Great Goddess Demeter. This went as far back as the 5th century BCE when the historian Herodotus declared that Isis IS Demeter and that Isis and Osiris were the only Deities worshiped throughout all of Egypt. (This wasn’t strictly true, but that was his impression.)

The Isis myth, as recorded and interpreted by Plutarch, gives us the perfect example of a syncretic myth.

As Plutarch tells it, the wanderings of Isis include episodes similar to those in Demeter’s story of wandering in search of Persephone. Like Demeter, Isis (in disguise as a human woman) weeps at a spring (in Demeter’s case, a well) and is invited into the royal house to be the nurse of a royal infant. At night, She tempers the child in a fire, making him immortal.

One night, the queen sees this process and, quite understandably, screams bloody murder, thus interrupting the magic and prohibiting her child from gaining immortality.

But let’s go one step further into this particular syncretism. Some Egyptologists believe that this “burning baby” episode may actually have originated in Egypt—with what they call the “burning Horus” formula—and from there it was imported into Demeter’s myth. So, in this case, both cultures were inspired by the other and each added a detail from the other Great Goddess’ myth to their own story.

There are numerous images that show Isis combined with Goddesses other than Demeter from throughout the Mediterranean region. We find Isis-Aphrodite, Isis-Astarte, Isis-Selene, Isis-Sophia, Isis-Artemis, Isis-Rhea, Isis-Fortuna, and many more. Just as She had within Egypt, now Isis flowed into Goddesses far beyond Egypt. So much so that She eventually became THE Goddess to many people, both within and without Her native land.

The human pathos of Isis’ story, Her fierceness in defending both Her husband and Her child, Her powers of resurrection and rebirth, and the magic that always clings to Isis like a potent perfume—all contributed to the spread of Her religion in the Greco-Roman world. People saw Her in their own Goddesses and they saw their own Goddesses in Her, eventually adopting Her as their own. Syncretism.

For today, I’d like to leave you with a syncretic hymn to Isis. It is one of four written in Greek and carved on the temple of Isis-Hermouthis (Hermouthis is a Hellenized form of the Cobra Goddess Renenutet) in the Egyptian Faiyum, where She was paired with the Crocodile God Sobek. The hymn was written by a man named Isidorus; judging by his name, he was at least a devotee. He may have been a native Egyptian who was either given or adopted a Greek name. Some researchers even think he could have been a priest of Isis, but we just don’t know.

Here is one of his four Faiyum hymns to Isis:

O wealth-giver, Queen of the Gods, Hermouthis, Lady,
Omnipotent Agathē Tychē [“Good Fortune”], greatly renowned Isis,
Dēo, highest Discoverer [generally, this means “creator”] of All Life,
Manifold miracles were Your care that You might bring livelihood to mankind and morality to all.

You taught customs that justice might in some measure prevail;
You gave skills that men’s life might be comfortable,
And You discovered the blossoms that produce edible vegetation.
Because of You, heaven and the whole earth have their being; and the gusts of the winds and the sun with its sweet light.

By Your power the channels of Nile are filled, every one,
At the harvest season and its most turbulent water is poured
On the whole land that produce may be unfailing.
All mortals who live on the boundless earth,
Thracians, Greeks, and Barbarians,
Express Your fair Name, a Name greatly honored among all, but
Each speaks in his own language, in his own land.

The Syrians call You: Astarte, Artemis, Nanaia [Mesopotamian Love Goddess closely associated with Inanna];
The Lycian tribes call You: Leto, the Lady;
The Thracians also name You as Mother of the Gods;
And the Greeks call You Hera of the Great Throne, Aphrodite,
Hestia the Goodly, Rheia and Demeter.
But the Egyptians call You Thiouis [from Egyptian Ta Uaet, “the Only One”] because they know that You, being One, are all other Goddesses Invoked by the races of men.

Mighty One, I shall not cease to sing of Your great Power.
Deathless Savior, many-named, mightiest Isis,
Saving from war cities and all their citizens: men, their wives, possessions, and children.
As many as are bound fast in prison, in the power of death;
As many as are in pain through long, anguished, sleepless nights,
All who are wanderers in a foreign land,
And as many as sail on the Great Sea in winter
When men may be destroyed and their ships wrecked and sunk,
All these are saved if they pray that You be present to help.

Hear my prayers, O One whose Name has great Power; prove Yourself merciful to me and free me from all distress. —Isidorus wrote it*

If you would like to hear a poetic and profound piece on syncretic Deities, I invite you to listen to this episode of the wonderful podcast The Emerald: Let Us Sing of Syncretic Gods, of Outcasts and Wanderers. Yes, of course, Isis is mentioned.

*Translation from Vera Vanderlip, The Four Greek Hymns of Isidorus & the Cult of Isis.

Is Isis a Moon Goddess?

Last night, we held our All-Hallows Eve rite (a bit early, I know). As we welcomed our Honored Dead in the presence of the Dark Ones, many of us were very aware of the bright moon shining above, just two days past a full Hunters’ Moon.

The moon, the moon, the moon. And I am thinking now of the moon and Our Lady Isis.

When we first encounter Isis, we often first discover Her as a lunar Goddess, a Goddess of the Moon. But is She?

A lovely lunar Isis; you can purchase a copy of your own here

Well, that really kind of depends on when you ask.

If we’re asking for today, for now, then yes, She is. And She has been for more than a millennium. But She took a rather circuitous route to get there. So let’s follow that trail a bit and see how it happened.

Early in Egyptian history, Isis was firmly associated with the heavens—with the star Sirius in particular, and with the sun, too—but She was not considered a Moon Goddess.

Moon Gods were the norm for Egypt—Iah, Thoth, Khonsu, and Osiris are among the most prominent and the moon’s phases were quite important to the ancient Egyptians. Scholars generally agree that the first Egyptian calendars, like those of so many ancient people, were lunar based. The temples marked the moon’s changes and especially celebrated its waxing and full phases. But the face the Egyptians saw in the moon was masculine rather than feminine.

For example, the waning and waxing of the moon could be associated with the wounding and healing of the Eye of Horus. So, perhaps we can think of Isis as the Mother of the Moon. Indeed, She was called “Isis, Who Creates the Moon Eye of Horus by Her Heart.” In some myths, Isis is the one Who heals Horus’ Eye, in others, it is Thoth or Hathor and we see this reflected in Isis’ epithet as She “Who Heals the Left Eye.”

By the time of the New Kingdom, the beloved of Isis, Osiris, becomes prominent as a lunar God. We have a number of examples of statuettes of Osiris-Iah—Osiris assimilated with Iah, a Moon God—or simply as Osiris the Moon. So in this case, Isis is married to the Moon. But She’s not really a Moon Goddess Herself.

On the other hand, the Greeks and the Romans were all about the Moon Goddess. In fact, the moon itself was simply called “the Goddess.” People spoke of doing something “when the Goddess rises.” They would kiss their hands, extending them toward the rising moon, “to greet the Goddess.” Magical texts give instructions for performing a certain ritual “on the first of the Goddess,” meaning at the new moon. When they saw Isis with Her horns-and-disk crown, they saw a Moon Goddess.

And because we have so much information about Isis from these Moon Goddess-loving people, today when many people think of Isis, the moon is one of the first things they associate with Her. Yet, interestingly, it seems to have been a third century BCE Egyptian priest named Manetho who first connected Isis with the moon. By the following century, when Plutarch recorded the most complete version of the Isis-Osiris myth we have, the tradition of Isis as a Goddess of the Moon was firmly established—even in Egypt.

Of course, it was easy to associate the fertility-bringing moon with the fertile Mother Isis. The ancient world also associated love affairs with the moon (the romance of moonlight, you know) and, in Her passion for Osiris, Isis was a famous lover.

Of course, the moon and the obscuring darkness of night were connected with magic, too—and Isis was one of Egypt’s Mightiest Magicians from the beginning. She was called Lady of the Night. One Egyptian story told how a particular magical scroll—which the tale calls a “mystery of the Goddess Isis”—was discovered when a moonbeam fell upon its hiding place, enabling a lector priest in Isis’ temple to find it.

Today, we also connect the moon with emotions, the deep, the waters, the feminine (taking our cue from the ancient Greeks and Romans), the home, Mystery, and change (to name but a few). And Isis can definitely be associated with all of these things—from the emotional passion of Her myths to Her ancient Mysteries and Her enduring role as the Goddess of Regeneration and Transformation.

This beautiful lunar Isis is by Reinhard Schmid. You can see his work here

So is Isis a Moon Goddess? She certainly has been for a very, very long time. Whether we choose to honor Her in this form has more to do with us than with Her. Many contemporary Pagans will probably be quite comfortable working with Isis as a Moon Goddess; a strict Kemetic Reconstructionist, not so much. But Isis is a Great Goddess; She is All, and so, for me, She is unquestionably to be found in the deep and holy Mysteries of the Moon.

And yet, and just for myself, while I do find Her in the moon, I resonate most strongly with Isis of the Stars and Isis of the Eternities of Space and Isis the Radiant Sun Goddess. Nevertheless, I still feel the call to explore Her important lunar aspects. What about you?

The Magical Hair of Isis

We are not immune to the charms of a beautiful head of hair—and the ancient Egyptians weren’t either.

But they took appreciation for hair, especially feminine hair, to a whole new level of magnitude. For them, hair was magical. And, of course, Who would have the most magical hair of all? The Goddess of Magic: Isis Herself.

A beautiful woman with beautiful hair — The charm of beautiful hair

I have always understood that the long hair of Isis in Egyptian tradition—disarrayed and covering Her face in mourning or falling in heavy, dark locks over Her shoulders—to be the predecessor of the famous Veil of Isis of later tradition. Ah, but there is so much more.

In ancient Egypt, it was a mourning custom for Egyptian women to dishevel their hair. They wore it long and unkempt, letting it fall across their tear-stained faces, blinding them in sympathy with the blindness first experienced by the dead. As the Ultimate Divine Mourner, this was particularly true of Isis. At Koptos, where Isis was notably worshipped as a Mourning Goddess, a healing prayer made “near the hair at Koptos” is recorded. Scholars consider this a reference to Mourning Isis with Her disheveled and powerfully magical hair.

Mourners use various mourning gestures and dishevel their hair

It is in Her disheveled, mourning state, that Isis finally finds Osiris. She reassembles Him, fans life into Him, and makes love with Him. As She mounts His prone form, Her long hair falls over Their faces, concealing Them like a veil and providing at least some perceived privacy for Their final lovemaking. As the Goddess and God make love, the meaning of Isis’ hair turns from death to life. It becomes sexy—remember those big-haired “paddle doll” fertility symbols?

A mourning woman with her hair over her face from the tomb of Minnakht

This pairing of love and death is both natural and eternal. How many stories have you heard—or perhaps you have a personal one—about couples making love after a funeral? It’s so common that it’s cliché. But it makes perfect sense: in the face of death, we human beings must affirm life. We do so through the mutual pleasure of sex and, for some couples, the possibility of engendering new life that sex provides. The lovemaking of Isis and Osiris is the ultimate expression of this. Chapter 17 of the Book of Coming Forth by Day (aka the Book of the Dead), describes the disheveled hair of Isis when She comes to Osiris:

“I am Isis, you found me when I had my hair disordered over my face, and my crown was disheveled. I have conceived as Isis, I have procreated as Nephthys.” (Chapter 17; translation by Rosa Valdesogo Martín, who has extensively studied the connection of hair to funerary customs in ancient Egypt.)

There is also a variant of this chapter that has Isis apparently straightening up Her “bed head” following lovemaking:

“Isis dispels my bothers (?) [The Allen translation has “Isis does away with my guard; Nephthys puts an end to my troubles.]. My crown is disheveled; Isis has been over her secret, she has stood up and has cleaned her hair.” (Chapter 17 variant, translation by Martín, above.)

This lovemaking of Goddess and God has cosmic implications for its result is a powerful and important new life: Horus. As the new pharaoh, Horus restores order to both kingdom and cosmos following the chaos brought on by the death of the old pharaoh, Osiris.

Not only is hair symbolic of the blindness of death and the new life of lovemaking; the hair of the Goddesses is actually part of the magic of rebirth. Isis and Her sister, Nephthys, are specifically called the Two Long Haired Ones. The long hair of the Goddesses is associated with the knotting, tying, wrapping, weaving, knitting, and general assembling necessary to bring about the great Mystery of rebirth. Hair-like threads of magic are woven about the deceased who has returned to the womb of the Great Mother. The Coffin Texts give the name of part of the sacred boat of the deceased (itself a symbolic womb) as the Braided Tress of Isis.

Mourners, probably Isis and Nephthys, throw Their hair over the Osiris

In some Egyptian iconography, we see mourning women, as well as the Goddesses Isis and Nephthys, with hair thrown forward in what is known as the nwn gesture. Sometimes they/They actually pull a lock of hair forward, especially toward the deceased, which is called the nwn m gesture. It may be that this gesture, especially when done by Goddesses, is meant to transfer new life to the deceased, just as Isis’ bed-head hair brought new life to Osiris. It is interesting to note that the Egyptians called vegetation “the hair of the earth” and that bare land was called “bald” land, which simply reiterates the idea of hair is an expression of life.

Spell 562 of the Coffin Texts notes the ability of the hair of Isis and Nephthys to unite things, saying that the hair of the Goddesses is knotted together and that the deceased wishes to “be joined to the Two Sisters and be merged in the Two Sisters, for they will never die.”

Isis and Nephthys pull a lock of hair toward the deceased

The Pyramid Texts instruct the resurrected dead to loosen their bonds, “for they are not bonds, they are the tresses of Nephthys.” Thus the magical hair of the Goddesses is only an illusory bond. Their hair is not a bond of restraint but rather the bonding agent needed for rebirth. Like the placenta that contains and feeds the child but is no longer necessary when the child is born, the reborn one throws off the tresses of the Goddesses that had previously wrapped her or him in safety.

The Egyptian idea of Isis as the Long-Haired One carried over into Her later Roman cult, too. In Apuleius’ account of the Mysteries of Isis, he describes the Goddess as having long and beautiful hair. Her statues often show Her with long hair, and Her priestesses were known to wear their hair long in honor of their Goddess.

This is sketched from a coffin from Gebelein, 13th dynasty where either a long-haired female image or a long-haired female is spreading her hair over the deceased.

This little bit of research has inspired me to want experiment with the magic of hair in ritual. In Isis Magic, the binding and unbinding of the hair is part of the “Lamentations of Isis” rite (where it is very powerful, I can tell you from experience), but I want to try using it in some solitary ritual, too. I have longish hair, so that will work, but if you don’t and are, like me, inspired to experiment, try using a veil. It is most certainly in Her tradition. (See “Veil” in my Offering to Isis.)

If you want to learn more about the traditions around hair and death, please visit Rosa Valdesogo Martín’s amazing and extensive site here. That’s where most of these images come from…many of which I had not seen before. Thank you, Rosa!

I have her book on the subject on order, but the publisher has postponed its release several times. Here’s hoping it arrives sometime soonish.

“Isis & Nephthys work magic for You with knotted cords”

I think I mentioned that Isis took, as an offering from me, a silver Knot of Isis when I visited Her Philae temple earlier this year. I had it on a chain around my neck when we took the boat over to the temple…and it was simply gone when we came back. It made me smile.

The Knot of Isis is often of red material, but here’s a green one, the color of all good things in ancient Egypt

Knots are important symbols for Isis and of Her. Most of us are very familiar with the Knot of Isis, the knot amulet that resembles an ankh, but with the “arms” folded down. Learn more about it here. But there’s another reason Isis is connected with knots. And that’s because She is the Goddess of Magic—heka, in Egyptian—and very often, heka was and still is worked by the tying of knots.

Ancient Egyptian texts often describe working heka as weaving or knitting, which is just another form of knotting. The deceased person is said to be “knit together in the egg” prior to rebirth. Some texts say that the head of the deceased is “knit on.” The concept of weaving, knitting, or knotting magic—bringing the strands of magic together to create or preserve or repel—makes complete and utter sense to me. There is a delicacy and precision that the many types of knotting require that speaks to me as a very viable way to work magic.

Note the knots in the straps of the Goddess' garment as well as the little loop between Her breasts. — Note the knots in the straps of the Goddess’ garment as well as the little loop between Her breasts.

The basic idea is simple enough: tied knots bind and untied knots release. Beyond that, knots can unite opposites and—since a knot secures things—protect.

Knot magic was well known in Egypt from an early period; an inscription in one of the pyramids says that Isis and Nephthys work magic for Osiris “with knotted cords.”

The Book of Coming Forth by Day (aka Book of the Dead) also gives several examples of the magical power of the knot. In one, knots are tied around the deceased to help them come into the presence of the Deities: “The four knots are tied about me by the guardian of the sky [. . .] the knot was tied about me by Nuet, when I first saw Ma’et, when the gods and the sacred images had not yet been born. I am heaven born, I am in the presence of the Great Gods.”

A *tjes* knot as part of a necklace and the Goddess Bat or Hathor; surely this beautiful piece of jewelry was also protective

In addition to these four knots, another text talks about seven knots, or tesut, that were tied about the deceased to protect them.

The power of the magical knot is in its ability to both unite and “surround” things. The tied knot is a symbol of the coming together of two things in perfect wholeness, a condition that promotes a positive outcome.

A passage in the Coffin Texts says that when the hair of Isis is knotted to the hair of Nephthys, the Two River Banks (that is, the land of the living and the land of the dead) are united. Tying a knot could also refer to sexuality; the perfect coming together of two people in an act of creation. We still “tie the knot” when we get married.

Hapi using a knot to unite the Two Lands — Hapi “tying the knot” to unite the Two Lands

Furthermore, because the two ends of the cord used in tying a magical knot symbolically go all the way around something, they “surround” that thing. Thus knot magic could be used to surround” or bind an enemy—or even tie a curse to them.

In Spell 42 in Budge’s translation of the Book of the Dead, the knot appears as a kind of seed. The deceased is said to be “the knot within the tamarisk tree, beautiful of splendor more than yesterday.” This surely refers to Osiris within the tree prior to His resurrection.

And, of course, as you already know, the famous Knot of Isis is a very magical knot. In most cases, it is protective and associated with renewal and resurrection. As time passed, it became a must-have amulet for all mummies and was usually placed on the upper torso.

If you’d like to work some protective knot magic for yourself, here’s a ritual, slightly adapted, from my Isis Magic (new edition coming in spring of 2026 from REDFeather Publishing!! Yay!) that you can use to do so.

In this rite, we are using the knots to surround with protection. We call upon Isis primarily, but also Nephthys, Neith, and Selket as the four Goddesses often found guarding the four corners of a shrine as well as the four Sons of Horus, Who in turn protect the canopic jars.

The Rite of the Tiet (the Knot of Isis)

About the Rite: In this ritual, you will magically tie a protective knot around yourself, or around anything or anyone you wish to protect. The ritual draws upon sources in the Book of Coming Forth by Day and is, in part, adapted from an ancient rite for consecrating the Tiet amulet.

Temple Arrangement: Altar at center; all tools on altar.

Ritual Tools: Nile water in Lotus Cup; flower petals from lotus, lily, or rose; Isis incense in censer; six pieces of fairly substantial red cord, each approximately one foot long (if you can’t find red cord that is thick enough, use white rope).

Opening

Purify and consecrate the temple and yourself according to the formulae of the House of Isis or any method you prefer. Return to the altar, take up the lotus (lily or rose) petals and elevate them.

Ritualist: O, you Souls of Life, Lotus Dwellers, Breathers, you of the Pure Air from the Wings of Isis, I have come for you. By the Blood, by the Power, by the Magic of Isis, establish yourselves within these petals. (Vibrating onto petals) ISET NEF!

Place some of the petals in the chalice.

Ritualist: (Addressing petals) I know you, you shining flowers. Your name is “Life Is In It”. Your name is “Protection”. Your name is “Peace Bringer”.

Place the pieces of cord upon the altar and anoint each of them with the Nile water with flower petals in it.

Ritualist: (Touching each piece of cord) Isis protects!

Invocation of the Powers of Isis

Next, invoke the Goddess, raising your arms in Adoration.

Ritualist: I call the power of my Mighty Mother Isis. I call Her strength to me. I call upon the Power and the Peace of Isis, for I shall knot the cord, the Knot of Isis.

O Isis, my Mother, I call You!

I call You with the breath of my body (breathing out).

I call You with the beat of my heart (touching your chest).

I call You with the pulse of my life (touching your wrists).

I call You with the words of my mouth (touching your mouth).

I call You with the thoughts of my mind (touching your forehead).

I call You Power. I call You Life. I call You Protection.

I call You, Isis!

Tying the Knots

Take up one of the pieces of red cord and move to the southeast corner of your ritual space. Holding the two ends of the cord in your hands, say:

Ritualist: You have Your Blood, O Isis. You have Your Power, O Isis. You have Your Magic, O Isis. The Blood of Isis and the Strength of Isis and the Words of Power of Isis shall be mighty to (state what you wish to protect) against all that would cause harm.

With strength and intention, tie a knot in the cord and set it in the southeast corner of the ritual space.

Ritualist: By the Power of Isis, I have knotted the cord.

Repeat this same procedure in the southwest, northwest, and northeast of the temple, above your head (leaving the cord on top of the altar), and upon the ground (leave the cord at the foot of the altar).

Stand west of the altar, facing east. Make the Sign of the Wings of Isis (raise and open your arms like wings).

Ritualist: O Isis and all You mighty Goddesses of Protection, I call upon You to guard (state what you wish to protect) as You did guard Osiris Himself, as You did guard Horus the Child.

An exceptionally beautiful gold and amethyst necklace, secured by a clasp in the form of a knot

Isis, Mighty Magician; Nephthys, Lady of Life; Neith, Primal Mother; Selket, Powerful One—tie the Knot of Isis against all harm. Keep it away! Restrain it! Let it not come near! O, Isis and all You Goddesses of Protection, grant Your peace and protection.

If you wish to meditate or do other work, this is an excellent time to do so.

Closing

If this is a ritual for protection from some outside threat, leave the tied knots in your ritual space for as long as desired or needed and conclude the rite by making the Sign of the Wings of Isis at the altar and speaking the last line.

If this rite is worked simply to create peace for meditation, you may untie the knots when you are finished by simply going to each knot in the order you tied it and untying it, then returning each one to the altar.

Use a simple, overhand knot in this ritual

Ritualist: I have untied the knot. Be in peace, O You Blood and Power and Magic of Isis. Be in peace.

At the altar, make Sign of the Wings of Isis.

Ritualist: I thank You, Isis, in all Thy names of Protection. Hold me ever near You, bound by Your protective knots.

The rite is complete.

Who is the Goddess Neotera?

The Ptolemaic Queen Berenike II as Isis-Aphrodite

Starting in the late-Ptolemaic period, we begin to hear of a Goddess called Neotera or Thea Neotera, the “Younger One” or the “Younger Goddess.” She’s a bit enigmatic because researchers aren’t sure exactly Who (or even who) She (or she) is.

Egyptologists have made a number of suggestions as to Her identity. Some identify Her as a Goddess, while others say she is a deified queen. (Hence my earlier capitalization ambiguity.)

Let’s look at the deified queen part first. Because that deified queen was most likely to have been Kleopatra VII; yes, THAT Kleopatra, the last of the Ptolemies, last ruler of an independent Egypt.

The Ptolemaic queens were into identification with Goddesses, Isis and Aphrodite being their top picks. Kleopatra, as mother of baby pharaoh Ceasarion, claimed for herself the title Nea Isis, “the New Isis.” What’s more, there actually were coins of the time bearing her image and the title of Thea Neotera. These were made by Kleopatra and Marcus Antonius for places outside of Egypt and meant to bolster her image in the greater world.

Isis-Kore-Persephone with Hades and His hound Kerberos/Cerberus

In Egypt, as you know, it was not unusual for there to be funerary cult maintained for rulers after their death and so we learn of a “great Kleopatreion” surviving at Rosetta (40 miles east of Alexandria, where the Rosetta Stone was found) into the 4th or 5th century CE. Alexandria was particularly resistant to Roman rule and it seems likely that, as Egypt’s last ruler, Kleopatra would have become popular with the people and her cult kept for long after her death. So Neotera certainly was Kleopatra VII in some instances.

But that is by no means the end of this quest.

Let’s move over to the Goddess side of the ledger. When Demeter and Persephone (also called Kore, “the Girl”) are named together, Kore is sometimes given the title Thea Neotera. She is the Younger Goddess in comparison with Her mother Demeter. Alexandria had a very famous festival of Kore, duly groused about by the Christian polemicist Ephiphanius. You can read his grouse here; you’ll need to scroll down. At Her temple at Denderah, the Great Goddess Hathor is called Aphrodite Thea Neotera (recall that this is a mostly Ptolemaic temple).

Isis Tyche with Isis knot, rudder, and cornucopia

Yet we also find all these Goddesses as separate Beings. In one of the many papyri found preserved in the trash dump in the Egyptian city of Oxyrhynchus, we have a document that records the return of certain temple properties in which we learn that Oxyrhynchus had separate temples to Kore and to Neotera. Among the Neotera temple goods was a bronze statuette of Neotera as well as a rudder that was one of Her symbols.

So that’s a bit of a clue about Neotera’s nature. The rudder makes Her a guiding Goddess. We also have a small gemstone with an inscription on both sides. On the obverse, the inscription refers to Sarapis. On the reverse, the inscription is “Great Fortune of the Invincible Neotera.” And so Neotera is also associated with good fortune. Since Fate and Fortune were considered to be “invincible” powers, our Goddess Neotera must be even more invincibly powerful as the one Who rules them.

Now, since the gem also has Sarapis on it, Isis would be a good candidate for Neotera; Sarapis is Her consort in this period. And one of Isis’ sacred symbols is indeed the rudder. Plus, as Isis-Tyche and Agathetyche, She is well known as the Lady of Fate and Good Fortune. But, Isis is not usually considered the younger one. In the Egyptian myth, She is, in fact, the older sister.

From Gerasa, modern Jordan, we have an inscription that accompanies an image of Zeus-Helios-Great Sarapis, Isis, and Neotera. The article I’m reading wonders whether Neotera here is Hathor-Aphrodite or Nephthys, but then rejects both options. Yet, it seems to me that Nephthys is a good option here. The combined God Zeus-Helios-Sarapis is common at that time and the God Sarapis is a later development from Osiris. It would be natural to have Isis and Neotera-Nephthys with Him.

A later grousing Christian, Athanasius, complains that Isis, Kore, and Neotera were human women who became deified “among the Egyptians.” So, for Athanasius at least, Neotera is known to be Egyptian, though Her name/epithet is Greek. And She is separate from Isis and Kore. An Italian Egyptologist, L. Moretti, (and some others, but I’m still looking for those) has indeed suggested that Neotera was a Greek interpretation of Nephthys. And while I like the idea that Gerasa’s Neotera might be Nephthys, it would have been quite unusual for Nephthys to be among the exported “Egyptian Gods” at that time. When people outside of Egypt referred to the Egyptian Gods then, they meant specifically Isis, Sarapis, Anubis, and Harpokrates.

Isis, Nephthys, and the Osiris (the dead person)

A scholar of Hebrew texts notes that a cult of Neotera-Isis was practiced in Roman Palestine—and the people there would also have been exposed to the prior Kleopatra Thea Neotera coins. He further notes that the worship of Isis was to be found in Israel at Raphia, Gaza, and Ashkelon. According to a rabbinical text, however, if you should happen to find evidence of that worship—such as an image of a breastfeeding woman, a ring with a moon or Sarapis on it—you were supposed to take it and toss it into the Dead Sea. (Let’s excavate!)

So, now I must come to the disappointing conclusion that, except where we see the epithet Neotera with another name—Kore Neotera or Kleopatra Thea Neotera, for example—we have no definitive answer as to Who the Goddess Neotera is. I thought I was going to be able to identify Her with Isis’ Younger Goddess sister. But so far, there’s just not enough evidence. Some scholars have suggested that, over time, the epithet Neotera got separated from (perhaps) Kleopatra’s Thea Neotera epithet and eventually became a separate Goddess; an egregore Goddess, we might say?

Yet our best clue as to Her nature still comes from the rudder symbol and the gemstone naming Her as Fortune. Thus, we can invoke Neotera for Good Fortune and for steering our lives in the right direction with Her wise rudder.

But, of course, we already have a Goddess Who just happens to also cover those areas: Isis, She of the Rudder, Giver of Good Fortune, Ruler of Fate.

She Who Rises at the Opening of the Year

Look down from Orion’s belt; the bright star near the horizon is Sopdet.

I’ve written a lot on this blog about the heliacal (“before the sun”) rising of the Star of Isis—Sirius in Latin, Sothis in Greek, Sopdet in ancient Egyptian—which marked the beginning of the Egyptian New Year and the return of the life-giving Inundation flood. (You’ll find the basic information on Isis and Her holy star here. For more, just search “Sirius” on this blog.)

When Sirius rises in your area depends on your latitude. For me, in 2024, Her rising is August 22, in the hour before dawn. Thanks to the wonders of modern online astronomical calculators, we can know pretty precisely when the Fair Star of the Waters will rise before the sun. (To use the linked calculator and find out when Sirius rises in your area, just enter your email and the password: softtests. You will need to know the latitude and altitude of wherever you are observing Her rise. This info is easily google-able.)

But for the ancient Egyptians, and for those of us who honor the Ancient Egyptian Deities today, something else happens prior to the rising of Our Lady’s star: the “Five Days Upon the Year” or the epagomenal days. These were five days outside of time that marked the transition from the Old Year to the New Year. These five days, added to the Egyptian 360-day year, brought them up to the requisite 365 (or almost; they were short a quarter-day).

Sakhemet shooting Her arrows, by Wolchenka. See more art here.

On these five days, the birthdays of Osiris, Horus (or Horus the Elder), Set, Isis, and Nephthys were celebrated. But this time wasn’t just a happy birthday party for the Deities. This time-outside-of-time, this liminal period, was also a period of great danger. This was the period before the coming of the yearly flood that fertilized Egypt’s fields along the Nile. It was the time of the lowest water; in some places, boats could no longer navigate. All along the Nile banks, everything was drying out. The food stores from last year’s harvests were running low. People were beginning to anticipate—and be anxious about—how high the waters would rise this year. Would there be famine or feast?

To those of us in the Northern Hemisphere, this may feel quite familiar in August. The foliage that used to be lush green has started to look dried out and dusty. Heat sits heavy upon the land. In some places, people are bracing for the possibility of their own high waters from hurricanes. And though my local farmers’ markets are brimming with harvest produce, my social feeds are filling up with people canning and preserving—for we still feel the need to conserve today’s harvest against the coming darker months.

Our epagomenal Deities, plus (I presume) young Anubis with Nephthys

For the ancient Egyptians, the epagomenal days were also the time that Sakhmet sent out Her plague demons to infect the people. Known as the Messengers, Slaughterers, or Arrows of Sakhmet, these frightful Beings struck people down, sickening or evening killing them. There is new research showing that the infamous bubonic plague or Black Death may have originated in Egypt—and indeed that it, or something like it, had been plaguing Egypt for centuries. The Ebers medical papyrus, dated to about 1500 BCE, lists a disease that includes the description of a bubo, an infected lymph node that was characteristic of the bubonic plague.

An example of the protective amulet with 12 destructive Arrows of Sakhmet shown.

All this is to say that Sakhmet’s Arrows were not to be taken lightly. And people did not. The king and the temples worked to protect Egypt during this time with the rituals of Sehotep Sakhmet, “pacifying” or “satisfying” Sakhmet, for She Who could bring plague could also protect against it. The people themselves wore special amulets and used particular spells to avert the plague, or other calamity, at this time of year.

One amulet listed 12 of Sakhmet’s Messengers “who bring slaughtering about, who create uproar, who hurry though the land.” To make the amulet, you draw Them on a piece of linen, knot it 12 times, and wear it around your neck (one of our most vulnerable spots). Then you repeat a particular prayer regularly from the time you put it on until the New Year. You were also to make offerings of bread, beer, and incense as part of activating the amulet. Archeologists have even found some examples of these linen amulets.

As a great Magician Goddess, Isis is particularly associated with magical knots, especially in relation to protective magic. When an ancient Egyptian referred to a “knot amulet,” what they usually meant was the famous Knot of Isis, one of the amulets that protected the dead. Isis and Nephthys are said to work protective magic for Osiris with knotted cords. Knot magic continues to be a popular form of spellwork today.

A linen strip with the image of Isis drawn on it. It’s pretty faded, so a sketch of the image is included in the lower left corner.

In addition to this overall protection, there were particular spells and amulets associated with each of the five epagomenal days. Linen amulets, similar to the one already mentioned, featured the image of the Deity Whose birthday was celebrated that particular day. We also have a few examples of these, but not a complete set. On the right is a picture of the one we have for Isis’ birthday; the other two existing ones are for Nephthys and Osiris.

Another reason that the epagomenals were an apprehensive time of year was that normal cyclical time, neheh-time—the yearly changes and renewals, came to a stop. The old year had ended and the new one had not yet begun. Djet-time, perfected unchanging time, took over. Now, you might think perfected time would be good. And it is. Eventually. But not for life on earth. Life here needs the changes of the seasons and the development of the years to survive. For more about neheh and djet time, go here and here.

For me, with the rising of the Star of Isis on the 22nd, the epagomenal days begin on the 17th of August. I plan to honor each of these Great Deities on Their birthdays, perhaps with similar amulets and prayers, and certainly with bread, beer, and incense.

This year, I am definitely feeling the unsettled liminality of the approaching epagomenal days. It has much to do with the political situation here. I have renewed hope that with the rising of the Star of Isis later this month—and with Her even more brilliant position in the night sky in…oh, let’s say, November…that Ma’et will prevail. But we don’t yet know how high the river will rise. And so we work toward Ma’et, we do our civic duty—perhaps do some protective magic with Isis as well—and we wait.

Standing at the Feet of Isis

Several posts ago, I mentioned a particular type of graffiti found at Isis temples in Egypt and in other locations throughout the Mediterranean. These are the images of a foot or feet or footprints that were sometimes scratched on or near Her temple or shrine. Similar feet have also been found carved on separate stone slabs and placed within temples. In Egypt, we find these feet images associated with Isis in Abydos and Philae. Outside of Egypt, we find them in Delos, Chaeronea, Thessaloniki, Maroneia, Rome, and more.

A knot of Isis like the one She took as offering

If you’ve ever traveled to a sacred place, you may have been tempted to leave behind an offering or token of some kind to mark your journey. On my own recent pilgrimage to Isis’ temple at Philae in Egypt, it seems I left such a token—if inadvertently. On the boat ride to Her temple island, I was wearing two pieces of jewelry: a knot of Isis and a tiny sistrum. I paid no attention to them at all while we explored Her sacred temple. But on the boat ride back, I had only the tiny sistrum. The knot of Isis must have fallen off sometime during our visit.

Yet the loss made me happy. Why? Because I had had a premonition that something would happen while I was there. I believe that what happened was that Isis accepted the offering that I had unconsciously brought Her. I have since wondered if the Goddess re-gifted it to some other visiting priestess and absolutely made her day, week, and month. I hope so; that’s my fantasy, anyway.

A votive footprint from a temple in the Egyptian Faiyum

Of course, I would never have etched my footprints or left graffiti on Her temple as some ancient visitors before me had done. I mean, what were they thinking!?! And, in fact, that’s exactly what I’d like to explore today: what were they thinking, and what are those footprints about anyway?

In a general sense, footprints are tangible proof that someone was here; right here—and substantial enough to leave a print. Remember the Ice Age footprints discovered in New Mexico several years ago? They are of a woman and child and they’re the longest continual track of fossilized footprints found to date; they continue for almost a mile. Because of the pace of the footprints and the changing depth of the imprints, researchers can tell something about what may have been happening to those people at that time. Or remember how affecting seeing Buzz Aldrin’s human footprint in the dust of the moon was? Or perhaps you’ve been intrigued by the celebrity footprints (and handprints) outside Grauman’s Chinese Theatre in Hollywood? Like a fingerprint, a footprint uniquely represents the one who made it.

Etched footprints of (probably) priests of Khonsu on the roof of His temple at Karnak

Footprints can often have a spiritual significance, too. Across the world, people have always pointed out what they say are footprints of Deities, heroes, and supernatural beings. Some are natural footprint-shaped indentations in rock, while others are human-created, like the giant God-footprints in Syria’s ‘Ain Dara temple. Such physical evidence is meant to clearly demonstrate the Deity’s Presence. These God-sized footprints may be meant to commemorate a human being’s experience of Divine epiphany. Or their permanence, especially in a temple, may be meant to say, “the Deity is always here.” However we interpret them, there is magic in them.

The “walking” footprints from Isis’ Baelo Claudia temple; you can see Her name in Latin in the upper left of the photo

Isis is, of course, one of the Deities Who left such evidence of Her Divine Presence in Her temples. We have a limestone slab from Alexandria, Egypt that shows a single, large footprint that has been conveniently labeled for us in Greek: Isidos Podas, “Foot of Isis.” Separate stone slabs like this, incised with a Divine foot or feet, seem to have been an Egyptian thing and is attested for Egypt from at least the 5th century BCE. Similar carved slabs are also found throughout the Mediterranean, and often in temples of “The Egyptian Deities.” During the Hellenistic and Roman periods, “the Egyptian Deities” meant specifically Isis, Serapis, Harpokrates, and Anubis. Sometimes, other symbols related to the Deity are carved along with the foot or feet, or the dedication informs us that it was given to fulfill a vow or “by order of” the Deity.

We sometimes also find votive footprints carved in stone that would then be set into the floor of the temple. In the Isis temple in Baelo Claudia, Spain, the footprints are offset, as if in movement, and seem to lead toward the altar. (I love this.) In this case, the footprints have been interpreted as the path walked by Isis’ priests as they served Her or as the steps of the Goddess Herself as She attends the ceremonies at Her temple. Another small Isis sanctuary near Seville shows similar treatment with the footprints approaching the sanctuary entrance.

Votive “footsteps” dedicated to Isis Dykaiosyne from the sacred island of Delos

From the sacred island of Delos in Greece, we have a pair of footprints, labeled as “footsteps” and dedicated to Isis Dikaiosyne, “Isis of Justice,” by “order of the Goddess.” Another set of Goddess-sized footprints from Delos were dedicated to Isis and Anubis by at least three women. From Chaeronea, we have sandalled feet dedicated “following the command of Isis.” We have similar dedicated footprints from the acropolis in Athens and from Thessalonike.

While oversized footprints usually represent Deities, smaller, human-sized ones represent Their human worshipers. The footprint demonstrates the worshiper’s presence before the Deity at Their temple. Some of the earliest examples come from Egypt. We find them not only in temple complexes, but also in hilltop locations, perhaps putting the human closer to the Divine in this elevated position. In Egypt, there are hundreds of examples and they date from as far back as the Old Kingdom. Some were made by visitors to the temples, but many were made in areas—such as the roof—that were inaccessible to anyone but the clergy. Thus it seems to have been a privilege of the priests to be able to put themselves in continual proximity to the Deity of the temple. In fact, the four instances of footprint graffiti found at Isis’ Philae temple come from a single family that served there as priests of Isis. (Researchers also note that some of the footprints from Egypt are found in secular contexts, often made by soldiers, and simply say, “I was here.” Because. Humans.)

Footprints of the Goddess and Her devotee from the Temple of Isis Locheia in Dion, Greece

Sometimes we find a larger footprint beside a smaller one, perhaps to represent the Deity and Their worshiper. An example of a set of footprints like these comes from the Temple of Isis Locheia in Dion, Greece. They may be meant to show that the devotee is walking beside her Goddess. Since Isis Locheia is a protector of women in childbirth and of children, we can surmise that the footprints represent a pregnant woman asking protection from her Goddess.

We also find a number of these footprint dedications given by now-free, formerly enslaved people. Both Isis and Serapis were known to help manumit slaves through a fictitious “sale” to the Goddess and God.

Later, during the Roman Imperial period, a new kind of “foot” comes into vogue. It is a gigantic 3D sculpture of a Divine foot. A famous example is the Piè di Marmo (“Marble Foot”) that now resides on Via del Piè di Marmo in Rome and which is believed to be a large foot of Isis (or possibly Serapis) from the temple of Isis Campense or the Serapium. These feet are free-standing and not part of a large, lost statue. In other words, the whole Deity is represented by the foot. Scholars believe that this trend, too, first developed in Egypt and was exported to other sanctuaries in the Mediterranean.

The concept of representing ourselves or our Deities by footprints—by the traces left behind by our presence or Their Presence—is found worldwide. People everywhere do it and have done so for thousands of years. The many “footprints of Buddha” are just one example from outside the Mediterranean region. They are, I believe, similar in meaning to the prehistoric handprints found in caves from Indonesia to France.

In Egypt, we have Old Kingdom evidence of the idea that “my footprint means I was here” in both secular and sacred contexts. By the New Kingdom, oversized Divine footprints begin to appear. But instead of being etched into temple walls or roofs, they are often carved on separate slabs of stone and dedicated in temples. We begin to see this trend outside of Egypt, too, especially in temples of Isis and Serapis, but also in temples of other Deities in sanctuaries throughout the Mediterranean. Remember the ones at Hekate’s temple in Karia?

For the Isis shrine in my backyard, we purchased two slabs of rock that we intend to have sandblasted with a pair of votive feet, right foot on one, left on the other. This is a project yet to be done, but after looking into this interesting little chapter in the worship of Isis, I’m gonna have to get on that. She needs some footsteps of Her votary—me—leading into Her temple.

Isis Magic & Offering to Isis (will be) Back!

Hello, Isiacs!

I am thrilled to let you know that both Isis Magic and Offering to Isis WILL be back.

Offering to Isis: Knowing the Goddess Through Her Sacred Symbols is being published with updated text and new illustrations of the offerings later this year (2024). It is from Azoth Press and will be available from Miskatonic Books. I’ll share more information as soon as I have it.

Isis Magic: Cultivating a Relationship with the Goddess of 10,000 Names, 25th Anniversary Edition will be available in spring of 2026. It will be published by REDFeather, Mind, Body, Spirit, which is known for its beautiful oracle decks and other topics in personal transformation and empowerment.

Oh, you saw that “25th Anniversary Edition” thing, too? Woof. I can’t believe it’s been that long. On the other hand, when I think of the tiny Mac computer with the floppy disks that I first started writing Isis Magic on while seated at our kitchen table, I actually can believe it.

As those of you who have been following along with this blog know, I don’t talk much about myself here. I prefer to keep the focus on Her. She’s the reason you’re here. She’s the reason I’m here. And She’s the reason both of these books are here. But I thought I’d break my rule just a little bit to share with you something about me and how these books came to be…

The earliest I can remember writing stories was in the sixth grade. Influenced by the spy TV shows that were popular at the time, I wrote about secret agent cats and their clandestine organization, P.U.R.R. Yeah, you don’t want to know what that stood for.

Next, I graduated to monster and horror stories inspired by the Creepy and Eerie graphic novels (we called them comic books then, but they were graphic novels).

I never really thought of myself as a capital-w Writer, though I made my living from marketing writing. During this time, I learned how to research. I found The Goddess and connected with my local Pagan communities. I studied magic and psychism, both on my own and through training in a Hermetic magical tradition. And of course—I’m sure I share this with many of you—I never lost my deep interest in ancient Egypt.

With all that in the background, it isn’t really surprising that, when I did find Isis—or She found me—that the task She wanted me to do was to write books for Her.

As I worked on that little Mac on the kitchen table, I researched to discover everything about Isis that I could find in order to bring it all together in one book. (There was no Google when I began. I know; shocking.) The devotions, meditations, and rituals in both books were inspired by what I learned about ancient Egypt and by Her. In fact, She used many of them to train me as Her priestess. One piece of UPG (unverified personal gnosis) that She gave me during the writing of these books, is that these books would bring seven important devotees to Her service. They would be leaders and would help more people come to know Her.

I hope this has already happened. I hope you’re one of them.

So. Those are the bare bones of the story of Isis Magic and Offering to Isis. I’ll keep you up to date on when the new editions will be available and share with you any new information as it comes along. Thank you all for your devotion to—and if you’re new here, interest in—Isis. She is the most wonderful and magical of Goddesses. She is Divine Magic, Divine Wisdom, Divine Power, and Divine Love. And She IS.

The House of Isis is open unto you. It always has been. Come.

Isis & the Magic of Myrrh

A hymn to Isis at Her temple in Philae says,

O Isis, giver of life, who dwells in the Pure Island, take to yourself the myrrh which comes from Punt, the lotus-fragrance which issues from your body, that your heart may be glad through it, and that your heart may rejoice every day.

Myrrh trees being planted in an Egyptian garden

Myrrh (commiphora myrrha) was one of the most sacred herbal substances of ancient Egypt and was a precious offering given to all the Deities. It was used in two primary forms: essential oil and gum resin. Myrrh oil was considered one of the Seven Sacred Oils of Egypt and the gum resin was frequently burned as incense. Both oil and resin were used in a wide variety of perfumes and medicines.

If you are not familiar with it, myrrh produces a strange and interesting scent. I wouldn’t exactly call it a “lotus fragrance” as the Isis hymn says. In fact, “bitter” is a word you could use of it, but it’s bitter in a good way, like bitter herbs that serve as a catalyst to bring out the flavors of certain foods. When the resin first hits the coal, there is a brief sweet note, but it quickly gives way to a darker burnt-wood scent. I use it as an underworld fragrance, but often mix it with amber to sweeten the scent.

Myrrh resin or "tears" weeping from the tree trunk — Myrrh resin or “tears” weeping from the tree trunk

Myrrh resin is exuded by several species of trees native to Arabia and eastern Africa. The Egyptians imported myrrh from Punt, in modern Somalia; and much of the world’s myrrh still comes from that area. In appearance, myrrh trees are small and shrub-like with gnarled branches, triple leaves, and small white flowers. The resin weeps naturally from the trunk and may be easily collected. However, small cuts are often made in the trunk to increase the flow. Thus the resin can be said to result from the wounding and weeping of the tree.

In addition to myrrh’s bitterness, this is perhaps another reason for its association with sorrow, mourning, and death. Myrrh oil was one of the most important used in mummification—so much so that some of Egypt’s ancient mummies still smell of myrrh. “Death is before me today, like the fragrance of myrrh,” says an ancient text known as “The Debate of a Man with His Ba” in which the man is considering suicide. Thus myrrh was sometimes said to have originated in the underworld.

Myrrh is sacred to Isis in Her role as Goddess of Death and Mourning. Myrrh’s bitterness may easily be associated with Isis’ bitter task of searching for the scattered pieces of Her beloved husband’s body. In the magical papyri, myrrh is called the Guide of Isis for it was thought to assist Her in this sorrowful task. While the papyri don’t say specifically how Isis employed Her “guide,” we can speculate that She may have burned it as incense—perhaps as part of a visionary rite—or made it into ink with which to inscribe amulets to aid Her search. A recipe for one such magical ink included myrrh, along with dried figs, date pits, and wormwood. The ritual instructions tell us that this ink was the one Isis used to record Her magical words as She fit together the members of Osiris. Myrrh was also sometimes called the Tears of Horus, perhaps in connection with His own mourning for His father.

Even though the Egyptians closely associated myrrh with death, they also connected it with pleasure and power. Myrrh was one of the many fragrances favored by the Lady of Joy, Hathor, and it was an ingredient in many, many of the most famous Egyptian perfumes. In perfume, the slight bitterness of myrrh adds depth to many lighter, sweeter fragrances. In the funerary texts, the deceased was expected to spend pleasant hours living and eating beneath myrrh trees in the otherworld. In one interesting formula, the deceased claims that his putrefaction—the fluid from his decaying body—is actually myrrh and that his Divine Mother Hathor anoints Herself with it. Myrrh was also the incense burned in temples of Re at noon, the time of His greatest power. The strong scent of myrrh reflected the noontime power of the Sun.

"Offering to Isis" by Sir Edward john Poynter, 1866; perhaps she has myrrh in that little container? — “Offering to Isis” by Sir Edward John Poynter, 1866; perhaps she has myrrh in that little container?

Magically, myrrh is used to purify, bless, and protect. It is said to increase the power of any incense with which it is burned. The dark scent of myrrh aids meditation and may be used to awaken our awareness of the spiritual realities behind the everyday world. Thus it is an excellent scent for use not only in meditation, but also before and during magical rites. Because of its association with death, myrrh is often connected with the planets Saturn and Mars, considered planets of ill fortune in ancient astrology. Today’s astrologers take a more balanced view of these two planets—attributing to them stability, strength, and energy. This view is clearly in step with myrrh’s ancient associations with power and protection.

On the practical side, myrrh is slightly antiseptic so the powdered resin may be dusted on sores as a local disinfectant. It is an astringent, a digestive aid, and an anti-gas tonic. Used as a mouthwash, it relieves sore teeth and gums. Taken internally, it cures bad breath and tightens loose teeth. It may be taken for coughs, asthma, and other chest problems. The ancient Egyptians used myrrh for all these purposes and more. From personal experience, I can also add that the essential oil works like a freaky catnip for my cat.

Myrrh is a balm of healing, protection, and care for the dead. It is a scent of spiritual power and energy. As Goddess of Death and Mourning, Lady of Healing, and one of Egypt’s most powerful Goddesses, Isis is the Lady of Myrrh.

Who is Aperet-Iset?

The last few weeks have led me to several new connections with Isis that I hadn’t known about previously. I’m sharing the second one with you today. Admittedly, the associations do get a bit obscure, but that’s okay with me. I love teasing out those threads of connection to and for Her.

Today we meet a Goddess named Aperetiset, Aperet-Iset, or Aperet-Isis. She is, apparently, a local Goddess from Akhmim, aka Khemmis, aka Panopolis, in Upper Egypt. There, Her consort is the God of the Upright Phallus, Min, and Their child is Horus the Child. She is also in evidence in Osiris’ cult center of Abydos and at Athribis in Upper Egypt near the edge of the western desert. Great Isis was worshiped with Min at Koptos, not too far from both Upper Egyptian locations. Aperet-Isis is known as far back as the New Kingdom, and then we find Her more frequently throughout the Ptolemaic and later periods.

We have maybe a couple dozen references to Her, and the ones we do have seem rather colorless. She is called the Lady of Akhmim, Mother of the God, Lady of the Two Lands, and The Great—fairly common epithets. But there are two other, more interesting, epithets that I’ll get to in a moment.

This map shows all the locations we’re discussing

First, let’s see if we can color outside the lines a bit and bring some additional tinting to our Lady Aperet-Isis.

Aperet Iset

First of all, Her name. The word “aper” means “to equip.” Aper-et is just “aper” with the feminine ending appropriate for a Goddess or a woman. And so, in the article I’m reading, it is translated as “She Who Equips the Throne,” (remembering that Iset means Throne). With what does She equip the throne? We don’t know. The article doesn’t speculate on that.

Perhaps with sovereignty? Sovereignty is always part of the discussion when it comes to the name of Isis Herself. If Isis IS the Goddess Throne, then to rightly rule, the king must sit in Her lap, on the throne, as Her child. That’s okay, as far as it goes. But Isis is far too expansive a Goddess to be confined to such a limited role. And, as all of you who have been reading along with this blog well know, She never was so confined. In fact, She eventually became The Goddess, the Encompassing All-Goddess, for so many, many of Her worshipers.

The king offering to Horus the Child, Min, and Aperet-Iset

I happen to be studying something right now that I believe can shed some light on Aperet-Isis.

You might be familiar with some of the forms of the human being, especially prominent after death, such as the ka and the ba. There’s another one called the akh. The dead “become akh” when they have successfully passed through the weighing of the heart during the Judgment of Osiris. You might see them described as “transfigured spirits.” When you’re akh, you have, in essence, become divine. You have all your powers and may travel between the worlds—heaven, earth, or underworld—at will, dwelling with the Goddesses and Gods. Naturally, the Deities are Akh, too, and have even more akh-power than humans who are akh.

There are two adjectives that are almost always used to describe akhs: iqer and aper. In the briefest of definitions, iqer is “effective” and aper is “equipped.”

The king offering to Min, Aperet-Iset, and Repyt

And with what are the divine akhs equipped? This we do know specifically. They are equipped with magical knowledge and power. Because they are aper—equipped—they are also iqer—effective—in doing whatever it is they wish to accomplish.

So, I think Aperet-Iset is not “She Who Equips the Throne,” but is instead the “Equipped Throne” or—taking Iset as a name rather than an object—”Equipped Isis.” To confirm that, some scholars have indeed understood Aperet-Isis as a form of Great Isis. As we know, being equipped with powerful magic is entirely within the natural purview of the Great Magician Goddess Isis. As Great of Magic, Our Goddess is incredibly competent and fully equipped with all Her magic. In tombs, we sometimes see human akhs describe themselves as “a lector priest who knows his spells.” And we know that Isis the Magician is perfect in casting Her spells, never hesitating or stumbling over a word. So I think we can take Aperet-Isis as a form of Isis that focuses particularly on Her magical strengths.

Equipped Isis may use Her magic in service to “the throne,” that is, the kingship. Under Her epithet of Lady of the Two Lands, this makes sense. And Great Isis was always concerned with maintaining the legitimate rule of Her son Horus over Egypt.

While usually shown in woman-form with horns-and-disk crown, vulture headdress, and sometimes two plumes, Aperet-Isis is also occasionally shown as a lioness-headed Goddess. She is usually in the company of other Deities, such as Min, Osiris, Horus, Isis, and Nephthys. In the mammisi, or birthhouse, at Edfu, She is shown with 13 other Goddesses, including two Isises and three Hathors. In Egyptian theology, it is no contradiction to have duplicates of the same Deities shown together, nor is it a contradiction to have a minor form of Isis, Aperet-Isis, shown with other forms of Isis.

We also find Aperet-Isis at Abydos, where Her powerful magic would be needed to resurrect and maintain Osiris. In the area around Akhmim, Her name is listed on funerary stelae, as well as being included in the offering formulae for tombs. This again connects Equipped Isis with the afterlife, where Her magic is required for renewal. And this is where the first of those more interesting epithets come in. One says, “Aperet-Isis, Her Face Coming Forth from the Land of God.” The Land of God, in this case, is the otherworld, the land of the dead, as well as the land of the Deities. As She emerges from this place, She is able to assist the dead in their transition to the next life. It is very valuable to have a Goddess Who is equipped with magic and knowledge available to help us in that great change.

The second of our more interesting epithets is “Aperet-Isis in the Temple of the Moon.” This is through Her connection to Min, Who is considered a Moon God. He is called Defender of the Moon and He Who Dwells in the Temple of the Moon. Generally, His sanctuaries were known as the Hwt I’ah, the House or Temple of the Moon—and this included Akhmim. As the Lady of Akhmim then, Aperet-Isis is also a Moon Goddess. So if you’re looking for a particularly lunar (and magical) form of Isis, Aperet-Isis may be the one for you. (More on Isis as a Moon Goddess here.)

At Athribis and Akhmim, Aperet-Isis is connected with the Goddess Repyt, known to the Greeks as Triphis (which sounds like an epithet of Hekate, but isn’t). More likely, this Greek rendition comes from combining the Egyptian feminine article, ta, with the Egyptian term rpyt, meaning “lady” and adding the Greek grammatical ending. So, the Goddess Repyt is simply The Lady. Repyt is often lioness-headed, too, and is paired with Min as consort. All three Deities, Min, Aperet-Isis, and Repyt, might be represented together. If Repyt is The Lady and Aperet-Isis is The Lady of Akhmim—and both are mothers of a Child God, Horus or Kolanthes (the Greek version of a little-known Child God)—we begin to see how the Goddesses come together. Ah, the glorious mess that is Egyptian Deities and how They refuse to have impermeable borders!

But now, I think we have at least a bit more color for our Goddess, “Equipped Isis.” She is a magically powerful Mother Goddess, a Queenly Goddess of the Two Lands, a Goddess of Magical Renewal, and a mystic Goddess of the Moon. She is most known from the New Kingdom onward, which is the same period when the worship of Great Isis was growing and spreading throughout the Mediterranean and further. It was, no doubt, inevitable that these two Goddesses would meet and unite.

Isis of Pompeii

The main shrine and walkway pillars of the Temple of Isis. Image copyright Forrest 2009. — The main shrine of the Temple of Isis

As you might guess, I’m always on the lookout for articles about Isis. Recently, I came across a Master’s thesis that—while it didn’t tell me much new—did remind me of the charming Isis temple in Pompeii, which is the only Italian Isis temple left standing today. I had a chance to visit it, lo those many years ago now. So I thought I’d tell you a bit about Her temple there.

One thing we know about Pompeii is that, in a city of about 20,000, about 10% of the population considered themselves Isiacs. So about 2,000 Isiacs were in Pompeii at the time it was buried in volcanic ash. Assuming you didn’t have to get them all in the sanctuary at one time (the temple grounds are not huge), that would have worked pretty well. Out of a group of about 2,000 Pagans, how many of them would actually show up for the rituals at any given time? About as many as would fit in that modest temple…a hundred, maybe 200 at most.

Temple fresco with Isis and Serapis, and Isis in Her boat

But being buried in volcanic ash wasn’t the first blow suffered by that lovely temple. Pompeii had ALSO had a recent earthquake, in 62 CE, with the Vesuvial eruption following in 79 CE. The earthquake had rattled down a lot of Pompeiian structures. In fact, one of the reasons that the Isis Temple was so well preserved (it is considered the most well preserved building in Pompeii) was that it had been rebuilt following the earthquake…and not all the other public buildings had.

Numerius' dedication of the temple in the name of his son. This image is copyright Forrest 2009. — Numerius’ dedication of the temple in the name of his son

A wealthy Pompeiian, Numerius Popidius Ampliatus, had had the temple rebuilt in the name of his six-year-old son, Numerius Popidius Celsinus, so that Numerius Junior would have a free ride to the Senate. (Politics never change.) But what’s of interest to us is not the political machinations of Dad Numerius, but the fact that rebuilding the Isis temple would have conferred that much status. Clearly, Isis was popular; connections with Her and the support of Her religion were politically expedient.

One of the amazing frescoes unearthed at the temple

The temple was located behind the city’s main theatre building, which emphasizes the close relationship between Isis and the God of the Theatre, Dionysos or Bacchus. Dionysos was identified with Osiris; and so, He was a natural partner for Isis. In fact, a sacred image of Dionysos, along with His requisite panther, was located in a special niche on the backside of the main Isis shrine.

On either side of the Dionysos image was a pair of large, stuccoed ears. The existence of these ears shows a direct connection between the Italian temple and Egyptian tradition. Egyptian temples often had God-sized ears carved on the back of the temple, just behind the innermost shrine. The common folk, who could not enter the holy of holies, could—by virtue of these Divine ears—speak directly to the Goddess or God of the temple. A hole drilled through the back of the temple, and a priest or priestess on the other side, served to transmit the concerns of the suppliant to the Deity. No doubt the same thing was intended in Pompeii.

The main shrine of the Temple of Isis in Pompeii. Photo copyright Forrest 2009.

This next photo is the main shrine, the naos and pronaos, of the Isis temple. The sacred images of Isis and Osiris would have stood here.

There was a mosaic floor in this area, which has now been lost. Lost where? I don’t know. Perhaps stolen from the site. On either side of the main entrance (the central opening you see here), were two niches, perhaps intended for images of Anubis and Harpocrates, to Whom two altars within the sanctuary were dedicated.

The stolisterion where the sacred water for the Isis rites was kept. Photo copyright Forrest 2009. — The small building where the sacred water for the Isis rites was kept

The low structure on the left is the main altar; the remains of a sacrificial fire and burnt offerings were found there.

Just to the left of the main altar is a small building where they kept the sacred water for purification. Likely, this would have been Nile water. Roman satirists mocked female Isis devotees for making pilgrimage to Egypt to bring back the sacred waters of the Nile. (We cannot be sure whether the satirists were more interested in mocking Isiacs or women by such statements, but either way, nice, huh?) The sacred water was kept in an underground chamber.

You can see a little way into the building, which is about the size of one of those pre-fab garden sheds. The main altar is on the right, in front of the building.

The thing we can’t really imagine from any of these pictures is how the living temple would have looked. Paintings covered most all the walls; colorful mosaics decorated both walls and floors; shaven-headed priests and veiled priestesses moved to and fro in service to the Goddess.

This one isn’t from Pompeii, but from Herculaneum; you can see that they were indeed trying to keep the “Egyptian” in temples of Egyptian Deities

Behind the main shrine, there was a large-ish room in which, I subsequently learned, the initiates of Isis met. I didn’t take a picture of it because the site really didn’t look like anything much. But that was because they took all the good stuff to the museum. The walls had been covered with images evocative of Egypt. Near the entrance, archeologists found a beautiful marble head of Isis. The body of the image was of wood and was dressed in garments of real fabric and would have been cared for on a daily basis by the temple personnel.

This is not that image. But it IS one of the statues rescued from the temple. I didn’t get to see it in person because the Naples Museum had that wing of the museum closed the day we were there. Dang. From what I’m reading, it looks like they may have made a replica and put it in place in the sanctuary. I hope so. Let me know if you’ve seen it.

At any rate, this is one of my favorite non-Egyptian Isis images, and I leave you with Her graceful Self:

One of the images of Isis in the Naples Museum

A Day of Rest

I’m recovering today from a bit of surgery, so I will leave you with this photo of some Isis statuettes we were privileged to see at the Egyptian Museum in Cairo. Isis, Isis everywhere!

Ahwere and the Magic Book, Part 2

We can pretend this is Ahwere, who tells the tale in Part 1

I went down a rabbit hole yesterday morning that—after some exciting twists and turns—led me back to an older blog post here on Isiopolis. And I realized that I hadn’t finished the story of Ahwere, Naneferkaptah, and their child, Merib.

This story has been called the pinnacle of ancient Egyptian literature (though we don’t have that much ancient Egyptian literature). It was written down in the Ptolemaic period and is usually called Setne and the Magic Book. It’s a classic type of ancient tale and involves Isis, Thoth, and dead Egyptians having effect in the living world. In it, the son of Rameses the Great, Setne Kaemweset, learns that a previous prince, Naneferkaptah, had acquired vast magical knowledge and an amazing magical book locked inside a series of chests and sunk in the bottom of the river. Now, the son of Rameses, also a glutton for magical knowledge, wants it for himself. (The real Kaemweset became a Sem-Priest of Ptah at Memphis and was responsible for new buildings at the temple of Ptah as well as restorations of ancient tombs and pyramids. He became a kind of folk hero with fantastical tales attached to his name.)

If you don’t remember it, you might want to reread the first part of the tale here before going into this next part. Now on with the tale..

I’m going to back up a just a bit to tell you a little more about the contests between Setne and Naneferkaptah over the magic book. Remember, Setne wants its magical power and Naneferkaptah, who is deceased, wants to keep it hidden because of the great tragedies that befall anyone who uses the book.

So Ahwere and Naneferkaptah, wife and husband, are in Naneferkaptah’s tomb warning Setne not to lust after this dangerous book. Setne threatens to take it by force if they don’t hand it over to him. So Naneferkaptah says he can only get the book by being able to best Naneferkaptah at a game a droughts (perhaps the game of Senet, the equipment for which was found in a number of tombs). Setne is up for the challenge. But Naneferkaptah wins the first game. By his magic, Naneferkaptah sinks Setne into the earth up to his lower legs. After losing the second game, Setne is sunk to his crotch, and on losing the third, he is sunk to his ears. Setne was down, but not out. He gives Naneferkaptah a whack and sends the spirit of his deceased brother to Setne’s father, the pharaoh, to tell of everything that happened and ask for help. This the spirit does—and pharaoh sends some powerful magic to Setne.

A few formidable amulets later, Setne is out of the earth, has snatched the magical book from Ahwere and Naneferkaptah, and runs out of the tomb. As he goes, Ahwere laments that all power has left the tomb. But Naneferkaptah comforts her and vows to make him return the book.

Setne locks the tomb behind him and goes to his father. Dad advises Setne to be smart and put the dang book back, but Setne refuses. In fact, like an idiot, he proceeds to read the magic book to everyone. (The story doesn’t tell us how this came out.)

Now we have a change of scene. Sometime after Setne gets the book, he finds himself walking in the temple of Ptah and sees an incredibly beautiful and alluring woman there, too. He cannot take his eyes off her and has his servant go find out who she is. Turns out she is the daughter of the High Priest of Bastet and her name is Tabubu. Setne, prince that he is, somehow thinks it would be a good idea to send his servant to offer her 10 pieces of gold to spend a hour with him. Not only that, but his invitation includes a veiled threat demanding her compliance. She is insulted and highly pissed.

Tabubu, Bastet priestess, looking like Ozma of Oz

So, she sends word to Setne that if he wants to do as he wishes with her, he has to come to her house, she being of priestly rank. Setne was okay with that, but everyone around him thought it was a Very Bad Idea.

So off to Bubastis he goes and he finds that Tabubu lives in a very rich house upon very rich grounds. Tabubu greets him and has him come inside with her. She serves him food and drink and they fool around for a while. Finally, Setne is ready to do the deed. Ah no, says Tabubu. She is of priestly rank and if he wants her he must sign over all his possessions. Somehow, Setne thinks this is a good idea and has a legal paper drawn up and signs it. Then Tabubu tells him that his children are here. Setne says to bring them to him. As Tabubu stands to go get the children, the transparent gown she is wearing makes Setne ever hotter and he begs to have sex with her. Nope, she says, not until your children sign off on the paperwork you just signed. Which they do. He begs again. Nope. Not until your children are killed. Setne—clearly madder than a hatter by this time—agrees. Their bodies are thrown out the window to be devoured by cats and dogs. Yeesh.

Finally, Tabubu leads him to a couch. They lay down together and just as he reaches out to touch her…

He wakes up with a huge erection and nothing to do with it.

Then he realizes that it was Naneferkaptah who sent him this evil dream (perhaps to show him how much of a monster could be?). When Setne goes out into the street, still naked, he comes upon the pharaoh. I am imagining the pharaoh rolling his eyes to the heavens as he advises his wayward son to go to Memphis and see his children, who are indeed alive. Pharaoh again advises Setne to get rid of the book. This time Setne listens and takes the book back to the tomb of Naneferkaptah where Naneferkaptah and the ka of Ahwere remain. Now remember that Ahwere and their child Merib are buried in Koptos in the vicinity of the temple of Isis and Harpokrates. She is in Naneferkaptah’s tomb just in ka-form. In order make amends, Naneferkaptah tells Setne go find the tombs of Ahwere and Merib and bring their bodies back to be buried in Memphis with him.

So prince Setne takes pharaoh’s boat and goes to Koptos. He makes offering to Isis and Harpokrates when he arrives. Then Setne and the priests of Isis spend three days searching for Ahwere and Merib, with no success. Meanwhile, Naneferkaptah had been keeping tabs on Setne and has seen his lack of success. So he changes himself into the likeness of an old priest. When Setne sees him, he thinks that such an old man just might remember where they were buried. As the old man was really Naneferkaptah, he most certainly did and told Setne they were under part of the small town of Pehemato (another translation says under the house of the chief of police). Digging there, Ahwere and Merib were found. And the now-reformed prince restores everything that had been destroyed during their digging just as it had been.

Ahwere and Merib’s bodies were taken to Memphis and buried with Naneferkaptah. The family was reunited and Setne learned his lesson. And so our the story is complete and you have now heard one of ancient Egypt’s greatest tales.

And on another note, a blessed and happy Easter to all who celebrate.

Happy Equinox!

Hello, Isiacs! I’m off celebrating the equinox today. Yes, it’s Portland and it’s overcast and chilly. But the daffodils are blooming and all the little green shoots are coming up.

So, no post today, but I’ll leave you with some images of Our Lady that I had the privilege to see at the Egyptian Museum.

Isis in a somewhat unusual squatting postion

An Isis aegis; these busts of the Deities were sometimes used to decorate the sacred boats in which They were carried among the people during festivals

An Isis-Aphrodite with Her bare vulva and show-girl hat

Not Isis, but Her son Horus; this is a cippi of Horus used for healing. You pour water over the image and magical words. It gathers in the basin below…and you drink that as your cure.

Many blessings to you and yours!

Under Her Wings, Isidora

Isis the Avenger

We are about to turn the corner into spring here in the Northern Hemisphere.

Screen Shot 2020-06-07 at 10.56.04 AM — Photo by OmarPhotos.com. See more work here. I just love this so much.

We often think of spring as soft and gentle. Tra-la-la, the flowers are budding, the birds are singing, the bunnies are doing as bunnies do.

But there is another side to spring. A striving, struggling, powerful side. Think Stravinsky’s Rite of Spring. After all, why is Aries the Ram the zodiac sign of spring? Because to get the year moving after long, deep winter, the world needs a push. Or a good shove. And the Ram is just the one for the job.

Just as we often think of spring as sweet and gentle, so do we often think of Isis as only sweet and gentle. And She can be. She can be a kindly mother holding us in Her arms as we weep and drying our tears. Then again, She can be fierce. She’s a Goddess. And She has many different faces.

So today, we have an Isis story that shows Her fierce and fiery aspect and which you may not have heard before.

This is a tale of Isis the Avenger and it is from the Papyrus Jumilhac. The only publication of the papyrus has been in French (which is why English readers may not have heard the tale). But via the blessings of interlibrary loan, I was able to borrow the French text.

The Papyrus Jumilac is about 23 “pages” long. It is a Ptolemaic text (approximately 2nd century BCE) but it was found in Upper Egypt and records some thoroughly Egyptian myths. It may have been a sort of training manual for the priesthood of the 17th and 18th nomes (administrative districts, like states or provinces) and tells stories connected with the local landmarks. Our Isis story from it is a tale of transformations, and in it, Isis changes Herself into a hound, a uraeus serpent, Hathor, and Sakhmet—all in Her pursuit of and revenge upon the murderer of Her husband.

The Papyrus Jumilhac may have been for the training of the priesthood in the 17th and 18th ancient Egyptian nomes.

Herewith is the tale of Isis the Fierce:

Set once more regrouped His allies, but Isis marched against them. She concealed Herself in Gebal which is south of Dunanwi, after having made Her transformation into Her Mother Sakhmet. She sent out a flame against them all, seeing to it that they were burned and devoured by Her flame. (It is said to Her, “Hathor, Mistress of the Two Braziers.”) She [Isis] created for Herself there, a place to observe the preparations of the Evil One and His allies. (It is said to Her, “The Temple of the Mistress of the Two Braziers,” and the wab priest of this Goddess is called Ouroumem [the Great Devourer].) Then Set, seeing Isis at Her observation point, transformed Himself into a bull to chase Her, but She made Herself unrecognizable and put on the form of a bitch with a knife at the end of Her tail. Then She began to chase Him, and Set couldn’t trap Her again. So He scattered His semen upon the earth, and Isis said, “It is an abomination to have scattered Your semen like this, O Bull.” His semen grew, in Gebal, in the plants which we call bdd-k3w.

This Egyptian image from about the 2nd century CE shows Isis with a serpent body as Isis-Thermouthis

Then the Goddess entered into the mountain which we call Hout-Kâhet, and settled Herself there. After which, She went to the north and, having transformed Herself into a serpent, She entered into that mountain which is north of this nome to spy on the allies of Set as they arrived in the evening. (It is said to Her, “Hathor, Mistress of Geheset.”) The Goddess [Isis] watched the allies of Set as they arrived in the Oxyrhynchite Nome and as they crossed the country to reach Gebal, the City in the East. She pierced them all [with Her fangs since She was in the form of a serpent], and She made Her venom penetrate into their flesh, so that they perished, all together; their blood poured out upon the mountain, and this is why this mountain is called the prsh of Geheset.

The story bears a little commentary to explain some of the features. Isis is pursuing Set in revenge for His having murdered Osiris. It is interesting to note that it’s not Horus the Avenger Who is going after Set, but Isis the Avenger. I’m not sure exactly where the local Gebal (a Gebel is a mountain) is; but we are told that it is south of Dunanwi. Dunanwi is a local God of the 18th Upper Egyptian nome, so perhaps the direction refers to a temple or shrine of the God or the text is using the Deity’s name as a name for the nome itself.

Although Isis’ first transformation is into “Her Mother” Sakhmet, Isis is repeatedly called by the name and epithets of Hathor, a local Goddess of Geheset. Geheset is a mythically powerful place; it hasn’t been conclusively identified with any real place in Egypt, but some scholars believe it may be at modern Komir, on the west bank of the Nile, south of Esna. (Interestingly, Komir was a center of the worship of Nephthys and a temple dedicated to Her has been found there. It is in the 3rd nome, however, south of the 17th and 18th nomes.) The Jumilhac papyrus does contain more information on Geheset. In another passage it says:

“Regarding Geheset, it is the temple of Hathor of Geheset, the house of the Chief of the Two Lands. House of Uraeus is the name of the Divine Booth of Hathor in this place. Isis transformed Herself into the uraeus. She hid from the companions of Set, Nephthys was there at Her side. The companions of Set passed by Her without their knowing. And then She bit them all. She threw Her two lances at their limbs. Their blood fell on this mountain, flowing, and their death happened immediately.”

Now, in the 4th nome, there was a famous Hathor cult center in Pathyris or Aphroditopolis, modern Gebelein. It is reasonably near to the Nephthys temple at Komir. If this is the mythical Geheset, then Nephthys being at Isis’ (as Hathor) side makes some geographic sense.

5 of Swords from Yoshi Yoshitani’s Fairytale Tarot

In the encounter between Isis and Set, in the form of a bull, Set attempts to rape Isis. We know this because He eventually ejaculates on the ground and Isis castigates Him for having wasted His semen like that. This reminds me of the myth in which Hephaestus tries to rape Athena, but His semen either falls on the ground or on Her leg, which She then wipes off in disgust and tosses it on the ground. The semen fertilizes Gaia and the Earth gives birth to Erichthonius, a mythical ruler of Athens who may have been part serpent. In this case, the semen of Set becomes an unidentified local plant called beded kau; the kau part is the plural of ka or vital essence. This may indicate that it was considered a powerful plant.

For the final part of the tale, Isis Herself takes the form of the holy cobra, the uraeus serpent. As a great serpent, She kills all of Set’s companions with Her venom. Their blood pours out on the mountain and becomes juniper berries (prsh); there is an Egyptian pun here on juniper berries and the flowing out of blood. In another part of the Jumilhac papyrus, Isis “cut up Set, sinking Her teeth into His back” and in yet another She first transforms into Anubis, “and having seized Seth, cut Him up, sinking Her teeth into His back.” (I wonder if there some connection between Isis transforming Herself into a dog with a knife in Her tail and later into Anubis?) Also, it is highly unusual for a Goddess to transform into a God. Usually, the Divine transformations are same sex.

The myths recorded in the Papyrus Jumilhac are surely much earlier Egyptian stories, which the priesthood used to teach their traditions in the temples of the 17th and 18th nomes. There were almost certainly other tales like these, from other nomes, in which it is Fierce Isis Herself Who takes revenge upon the murderer of Her beloved Osiris. I hope someday we will find more of them.

As we enter into our own rites of spring, I hope that the Fierce Goddess Isis will always protect you and empower you.

Art of Isis

I’d like to share with you some beautiful art of Our Lady that was shared with me recently.

I absolutely adore the fact that She inspires so much art. It seems that sometimes art is the only way we can express our feelings for Her or our experiences with Her. For me, often, it is the art of ritual that helps me both express and share my love of Her. For others, it’s poetry or visual arts or music. What about you? Is there an art that you use to express yourself about or to Her?

This beautiful altar image was commissioned by my fellow Isiac, Patrick, who so kindly shared it with me. It is based on a compilation of some of the next images, with personal touches requested by Patrick.
The artist is Lupherd Hernandez Lozada.
The Latin beneath Her feet says, “You, being One, are All, Goddess Isis.”

And here are some photos from the Egyptian Museum in Cairo that inspired this lovely sacred image:

I’ve been wondering who or Who these amazing images on the facade of the Egyptian Museum in Cairo are supposed to be. Isis and Cleopatra are the most common identifications.
But according to the Egyptian Museum itself, They are Goddesses representing Lower Egypt and Upper Egypt. The Goddess above is the Goddess of Lower Egypt with the uraeus on Her crown…so Wadjet.

So this must be Nekhbet. It looks like Her crown has several lotus buds on it, the flower emblem of Upper Egypt. Both Goddesses were sculpted by the French artist Ferdinand Faivre (1860-1937). It may be that They aren’t intended to be *specific* Goddesses, but just She of Lower Egypt and She of Upper Egypt.

Faivre also carved the keystone image. Now this one most likely IS supposed to be Isis, perhaps as a Goddess Who unites the Two Lands or just as the most well-known Egyptian Goddess at the time the sculptor was working.

Here is the Egyptian archeologist and the architects of the museum with the keystone image.

And here they are raising the Isis keystone into place.

And how they all look on the front of the museum. Note the papyrus and lotuses uniting Upper and Lower Egypt in the water pool.

So, do you do art about or for Isis? Please feel free to share in the comments.

The Island of Isis

For me, of course, a highlight of our recent Egyptian pilgrimage was the visit to Her temple at New Philae, or Agilika (or Agilkia), island.

So I thought I’d share some photos with you so you can see what it looks like from more angles than you might usually get to see. There are more exterior shots than interior because the interior of the temple was freaking FULL of tourists. (Tourist tip: if you go, go as early or late as you can. We neglected to do this.)

But first, do you know the story of how they moved this temple, considered the most beautiful of all Egypt’s surviving temples? If not, I’ll tell it briefly…

With the building of the second Aswan dam in 1971, the Temple of Isis on the original Philae island was flooded.

The kiosk of Trajan and the (I think) second set of pylons of the temple when flooded

It’s even eerier with a color photo from the water

Happily, it does not look like this today thanks to an enormous international effort that moved the entire temple—block by block—to a new and higher island, which was landscaped to look like the original.

Ancient Philae was situated at the Nile’s first cataract, the beginning of Nile whitewater, which was much more dangerous before the building of the dam. This area was where Egypt ended and Nubia began. Thus Aswan, the nearest town, became a huge market town. Aswan’s original name, Sunu, means “market.” The Nile is beautiful everywhere, but the cataracts are, I think, exceptionally beautiful—and an appropriate place for the beautiful temple of the Beautiful Goddess.

While the dam had calmed the waters, it had flooded Philae. To save the temple, UNESCO and the Egyptian government worked to move the Philae temple. But that wasn’t all. There were about 20 temples that were flooded and moved, including the spectacular Abu Simbel temples. But our story today is Philae-centered.

To save Philae, they built a retaining wall around the island, then pumped the water out of it.

After that, they were able to deconstruct the temples and monuments, move them, and reassemble them on the re-landscaped Agilika island. You can still see the numbering on some of the temple’s blocks that helped the team rebuild it. And you can also still see the darkness that seeped into the temple’s sandstone blocks from the black, silt-filled Nile waters during its time underwater—the same silt that made the Inundation so important for the fertilization of Egypt’s fields every year. With the dam, there is no longer an Inundation, but there is water control and there is electricity. By the way, none of this was easy or quick. It took from 1972 to 1980 to accomplish.

Our guide told us that the star alignment for the rebuilt temple is slightly off. But I haven’t been able to check that out for myself.

Herself, next to Greek graffiti; did you know Philae has THE most graffiti of any Egyptian temple? Learn more about that here.

I will tell you one thing that shocked me. I knew that images had been purposefully damaged (not only at Philae, but at every temple). But the extent of the damage! Almost all of them. As in the image above, the faces were hacked away, and often the hands and feet as well.

Philae was one of the last places to preserve the ancient Egyptian religion, but when Paganism was outlawed, the temple was converted into a church

Some of the better-preserved pillars at Philae temple, beside the mammisi, celebrating the birth of Horus

And here’s a recreation of what the temple might have looked like

Visiting an Isis Temple at Giza

Nice job on the logo, Egyptian tourist board

If you missed getting an Isiopolis post during the last couple of weeks, I have a very good excuse.

I was in Egypt. Finally.

And yes, it was amazing. On multiple levels.

Those of you who have already visited Our Lady’s homeland know. Those of you who haven’t yet, I hope you’ll be able to make the journey someday.

Imagine driving down a major road in your city and seeing this

Now, if you’ve been reading along with this blog, you might know that I’ve never been overly interested in the kings and queens of ancient Egypt. For me, it’s always been about the Deities. And one in particular.

Given that, I’ve never been super-fascinated with the pyramids—other than by the sheer fact of their ancient eminence. But if one goes to Egypt, one must, of course, visit the very impressive pyramids.

But I hoped to make this pyramid trek special because of something I learned about years ago and now would have the opportunity to see for myself.

The map we sent to our guide to show him where we had to go

You see, what I’d learned was that there are the remains of a small Isis temple behind one of the queen’s pyramids, behind the Great Pyramid.

The temple is at the pyramid of Henutsen, who was probably the second or third wife of Khufu, and who lived during the fourth dynasty of the Old Kingdom.

There is some confusion over whether Henutsen was a wife or daughter of kings due to an important artifact found in the Giza plateau known as the Inventory Stele. The Stele calls her “king’s daughter” (some Egyptologists think she might have been a daughter of Sneferu). But other than the Stele, the only title we have a record of for her is “king’s wife.” Either way, Henutsen was royalty, bore at least two princes, and got her own smaller pyramid. For our trip, we arranged a private tour in order to be able to include the Isis temple (and forego the camel ride).

Yet, before we talk further, I’d like to quote the Inventory Stele for you, so you can see what is so interesting about it. The Stele has caused a lot of excitement, especially among those who believe that the Sphinx and Pyramids are older than the fourth dynasty period to which Egyptologists usually attribute their construction.

Here’s what it says (my capitalization of Divine pronouns):

Live Horus, the Mezer, the King of Upper and Lower Egypt, Khufu, given life. He made for his mother Isis, the Divine Mother, Mistress of the Western Mountain [i.e. the necropolis], a decree made on a stele, he gave to Her a divine offering, and he built Her a temple of stone, renewing what he had found, namely the Gods in Her place.

Live Horus, the Mezer, the King of Upper and Lower Egypt, Khufu, given life. He found the House of Isis, Mistress of the Pyramid, by the side of the cavity of the Sphinx, on the northwest side of the House of Osiris, Lord of Rostau, and he built his pyramid beside the temple of this Goddess, and he built a pyramid for the king’s daughter, Henutsen, beside this temple. The place of Hwran-Hor-em-akhet [that is, the Sphinx] is on the south of the House of Isis, Mistress of the Pyramid, and on the north of Osiris, Lord of Rostau. The plans of the Image of Hor-em-akhet were brought in order to bring to revision the sayings of the disposition of the Image of the Very Redoubtable. He restored the statue all covered in painting, of the Guardian of the Atmosphere, who guides the winds with his gaze.

He made to quarry the hind part of the nemes headdress, which was lacking, from gilded stone, and which had a length of about 7 ells [3.7 meters]. He came to make a tour, in order to see the thunderbolt, which stands in the Place of the Sycamore, so named because of a great sycamore, whose branches were struck when the Lord of Heaven descended upon the place of Hor-em-akhet, and also this Image, retracing the erasure according to the above-mentioned disposition, which is written {…} of all the animals killed at Rostau. It is a table for the vases full of these animals which, except for the thighs, were eaten near these seven gods, demanding {…} (The God gave) the thought in his heart, of putting a written decree on the side of this Sphinx, in an hour of the night. [That is, the pharaoh had a dream from the Sphinx that he should do this.] The figure of this God, being cut in stone, is solid, and will exist to eternity, having always its face regarding the Orient.
Translation from The Sphinx: Its History in Light of Recent Excavations, Selim Hassan (1949). Hassan takes it from French Egyptologist Gaston Maspero’s original translation.

The rest of the stele is taken up with a list of the sacred images of the Deities that Khufu restored within the Temple of Isis. The largest part of the stele is an inventory of these images, which is why it is known as the Inventory Stele.

Pretty cool, huh?

Part of the Temple of Isis at Giza; I sat here for a while

What excited me, of course, were the Isis references and the (new-to-me) title “Mistress of the Pyramid.” What excites most of those who get excited about this stele is that it—supposed to have been carved by Khufu’s fourth-dynasty sculptors on the king’s orders—tells us that the Sphinx was already there by that time! Not only that, but apparently the Temple of Isis was there even before Khufu built his Great Pyramid. So wow, right?

Alas, most Egyptologists agree that the Stele is an archaized work, probably created sometime between the 25th and 26th dynasties, during a period when Nubian kings were trying to revitalize Egypt by harking back to its Old Kingdom glory days. The style of art and writing point most clearly to the 26th dynasty. Key to the evidence is that we have no reference to “Hwran” and “Hor-em-akhet” as names for the Sphinx until the 18th dynasty.

As for the Temple of Isis, it was probably originally a funerary chapel associated with the pyramid of Henutsen, Khufu’s wife, or as the Inventory Stele says, “king’s daughter.” The temple had been “found” by the pharaoh Pasebekhanu in the 21st dynasty and either converted into a small Temple of Isis at that time or, because the pharaoh either had or believed he had found the remains of an earlier Isis temple, had it refurbished as one. There, Isis was worshiped as Lady of the Pyramid until the Roman period. We even have evidence that Her cult had its own priesthood.

Prior to the Inventory Stele, we find Isis on a Giza stele of Prince Amenomopet, a prince of the 18th dynasty. This is on the so-called Stele C found in the Sphinx Temple and which shows the Sphinx and Isis, wearing the Horns and Disk Crown and within a shrine, receiving offerings from the prince. The image is captioned, “Isis, the Great, the Divine Mother, Queen of the Gods, One in Heaven, Who Has No Equal, the Elder [daughter of] Atum.” Dating on the stele is controversial (so what else is new in Egyptology?), but if the 18th dynasty dating is accurate, then Isis and the Sphinx are being worshiped together at Giza by at least that time.

After this period, we have a number of other Giza inscriptions that include Isis. Some that list Her with other Deities, notably Osiris and Horus, some that indicate that She was being worshiped alone. So it would seem that there was an active cult of Isis at Giza from at least the 18th dynasty. There is also evidence of private devotion at the Temple of Isis; a number of votive plaques were found there as well. (By the way, this info has been gathered together by Christiane M. Zivie-Coche in her book Giza Au Premier Millenaire Autour du Temple D’Isis, Dames des Pyramides.)

We also have several fragments of columns, probably from the Ramessid era, but which were reused in the Third Intermediate Period by Pharaoh Amenemope, on which the king offers wine to Osiris and Isis, Who is identified specifically as Lady of the Pyramids. Because the column was reused, we can’t be sure whether that epithet goes back to the Ramessid period or is from the 21st dynasty. Either way, we have another attestation that one of the Goddess’ epithets is Mistress or Lady of the Pyramid (or Pyramids). This likely refers to Her function of protecting the pyramids and the Osiris-kings in them, and surely to Her power to safeguard their rebirths as well.

Interestingly, a graffito on Henutsen’s pyramid from (probably) Egypt’s late period says that the pyramid is the burial place of Isis. Oriented to the south, it faced the symbolic burial place of Osiris, Lord of Rostau.

Another view of the Temple of Isis — Another view of the Giza Temple of Isis with Henutsen’s pyramid in the background

I’m looking at another article about all this that leans toward taking the Inventory Stele more seriously as fact than previously thought. If there’s anything of interest there, I’ll let you know. But I think this is enough for now.

I am privileged to have been able to sit at Her Giza temple. There’s not much left, either in temple structure or (unfortunately) residual magical buzz. But that’s okay. For I’ll use what I experienced in Giza in my meditations in Her shrine here. I’ll add Her epithet of Mistress of the Pyramid to Her names honored here. In time, Her pyramidal Mysteries will unfurl once more.

Is Isis a Virgin Goddess?

Recently, in relation to this, a friend of this blog asked a very excellent question. It had to do with Isis’ status as a Virgin Goddess. Basically, is She or isn’t She? She is often compared with the famously Virgin Mary, and the images of the two Goddesses, nursing Their holy babes, are strikingly similar. And then there’s all of this.

Well, as is often the way with Goddesses, the answer is both no and yes.

So, is that all there is to it? Isis is not a virgin?

Well, not quite. Because Isis is a Goddess.

Isis is the Goddess of 10,000 Names and 10,000 Forms. Among those forms are the sexual Lover of Osiris and the Mother of Horus. Among Her many Names are syncretisms with famously virginal Goddesses such as Artemis, Hekate, and Athena, as well as heroines such as Io, a virgin priestess of Hera (a Goddess Who Herself renews Her virginity on the regular). Isis is identified with both Demeter the Mother and Persephone the Kore, the Young Girl, Who were sometimes seen as a single unit, Mother-Daughter, containing All in Themselves. Goddesses can be many things, all at once, without any contradiction—or perhaps with every contradiction, which is one of the ways of Goddesses.

Perhaps no text shows us these Divine Feminine contradictions/not-contradictions as clearly as “The Thunder, Perfect Mind,” a text found among the Nag Hammadi texts. It is a long poem in the voice of a Feminine Divine Power that some scholars have linked to Isis; or at least that Her worship influenced the content of the text. Could be, but in my opinion, the Divine Speaker may be better understood as Sophia—with Whom Isis is also identified. The Coptic (late Egyptian) manuscript from which the text comes is dated to roughly 350 CE. Here’s a brief excerpt from this amazing work:

For I am the first and the last. I am the honored one and the scorned one. I am the whore and the holy one. I am the wife and the virgin. I am the mother and the daughter. I am the members of my mother. I am the barren one and many are her sons. I am she whose wedding is great, and I have not taken a husband.
The Thunder, Perfect Mind

Clearly, Isis is identified with Virgin Goddesses throughout the Mediterranean world. And it is not at all unusual for such Goddesses to be both virginal and associated with fertility. What about Egyptian sources?

The ancient Egyptians were not quite so concerned with virgins—by which I mean, in this case, a young person who has not yet had sex—as were the Greeks and some other Mediterranean peoples. For instance, there was no requirement that young women, or young men for that matter, be sexually inexperienced when they married. Many young women probably were—particularly those who were married very young to older husbands. But prior to marriage, young people might engage relatively freely with each other. After marriage, sexual exclusivity with demanded, especially for women. The penalties for non-compliance could be very harsh, especially for women.

The God’s Wife of Amun, the highest of high priestesses and usually a female relation of the king, was virgin for life. Beginning in the 2nd Intermediate Period, the position of the God’s Wife gained a great deal of power, eventually becoming second only to the king. Interestingly, it was an “Isis”—Iset, the virgin daughter of Ramesses VI—who began the tradition of the God’s Wife being celibate. Later, in the Roman period, some Roman priestesses of Isis maintained lifelong virginity. And we know that the Roman Isiacs might maintain a 10-day period of pre-ritual chastity known as the Castimonium Isidis or Chastity of Isis.

Isis Herself is called the Great Virgin in one of the Egyptian hymns to Osiris (I believe it is from the Isis Chapel at Abydos; still checking into it.) In Egyptian, this would is Hunet Weret. Hunet is the word for girl or maiden, weret is the feminine form of great. Hunet is also the name for the pupil of the eye and is connected to the Hermetic treatise known as the Kore Kosmou, the “Virgin of the World.” You can read about those maidenly connections here. (And read about the Kore Kosmou here, here, and here. )Just like Greek parthenos, hunet could mean a virgin, a girl, a maiden, or just youthful. And all Egyptian Goddesses are forever young. A young boy or youth is hunu.

Parthenogenesis (asexual reproduction), was not unknown in Egypt, either. The First Creators in many Egyptian myths, such as the God Atum and the Goddess Neith, created everything from Themselves. Some Egyptian queens, such as Ahmose, Hatshepsut’s mother, were said to have given birth to pharaohs after sexual union with a God.

So, is Isis a Virgin Goddess? Yes. Does She have sex with Her Divine Husband? Yes. She is, as so many Goddesses are, Both And. She is a patroness of marital sexual desire and bliss and She is an ever-renewing, ever-youthful Virgin Goddess. On this holy day and every day, may She bless you with the gifts you most desire.

Is Isis a Virgin Goddess?

Well, as is often the way with Goddesses, the answer is both no and yes.

So, is that all there is to it? Isis is not a virgin?

Well, not quite. Because Isis is a Goddess.

Perhaps no text shows us these Divine Feminine contradictions/not-contradictions as clearly as “The Thunder, Perfect Mind,” a text found among the Nag Hammadi texts. It is a long poem in the voice of a Feminine Divine Power that some scholars have linked to Isis; or at least they think that Her worship influenced the content of the text. Could be, but in my opinion, the Divine Speaker may be better understood as Sophia—with Whom Isis is also identified. The Coptic (late Egyptian) manuscript from which the text comes is dated to roughly 350 CE. Here’s a brief excerpt from this amazing work:

For I am the first and the last. I am the honored one and the scorned one. I am the whore and the holy one. I am the wife and the virgin. I am the mother and the daughter. I am the members of my mother. I am the barren one and many are her sons. I am she whose wedding is great, and I have not taken a husband.
The Thunder, Perfect Mind

The ancient Egyptians were not quite so concerned with virgins—by which I mean, in this case, a young person who has not yet had sex—as were the Greeks and some other Mediterranean peoples. For instance, there was no requirement that young women, or young men for that matter, be sexually inexperienced when they married. Many young women probably were—particularly those who were married very young to older husbands. But prior to marriage, young people might engage relatively freely with each other. After marriage, sexual exclusivity with demanded, especially for women. The penalties for non-compliance could be very harsh, especially for women.

Isis Herself is called the Great Virgin in one of the inscriptions from the Isis Chapel at Abydos. In Egyptian, this is Hunet Weret. Hunet is the word for girl or maiden, weret is the feminine form of great. Hunet is also the Egyptian name for the pupil of the eye and is connected to the Hermetic treatise known as the Kore Kosmou, the “Virgin of the World.” You can read about those maidenly connections here. (And read about the Kore Kosmou here, here, and here. )Just like Greek parthenos, hunet could mean a virgin, a girl, a maiden, or just youthful. And all Egyptian Goddesses are forever young. A young boy or youth is hunu.

So, is Isis a Virgin Goddess? Yes. Does She have sex with Her Divine Husband? Yes. She is, as so many Goddesses are, Both And. She is a patroness of marital sexual desire and bliss and She is an ever-renewing, ever-youthful Virgin Goddess. On this holy day and every day, may She bless you with the gifts you most desire.

The Divine Bread of Isis

I offer bread to the Goddess — Offering bread to the Goddess

Here in the famously cloudy Pacific Northwest, I find myself thinking of a hot bowl of soup and a slice, well buttered, of bread. So today, I write today in honor of bread—both as a worthy offering to Isis and Her Divine family and as a powerful symbol of transformation.

Indeed, the offering tables of ancient Egypt fairly groaned beneath the weight of loaves of offered bread. In tomb paintings you can see them, baked into neat, conical or oval shapes and piled high upon the altars. “Thousands of loaves” were promised to Deities and deceased pharaohs. Excavations have shown that actual loaves of bread were among the grave goods of kings and commoners alike. In the Book of Coming Forth by Day, the deceased declares he will live on the bread of the Goddesses and Gods.

An offering table with the bread and wine already on it — An offering table with the round loaves of bread and pitchers of wine already and eternally upon it

As in so many places in the world, bread in ancient Egypt was a basic, even archetypal, food and the grain from which it was made, an essential, as well as symbolic, food crop. To the ancient Egyptians, a loaf of bread came to symbolize all types of food offerings and all good things.

Both Isis and Osiris are strongly connected with bread and the grain from which it is made. A number of Isis’ epithets attest to this. She is the Lady of Bread and Beer, Lady of Green Crops, Goddess of the Fertility of the Field, and the Lady of Abundance. (And by “bread and beer” the Egyptians meant more than just a sandwich wrapper and a drink. The phrase meant every good thing; Egyptians would even greet each other by saying, “bread and beer,” thus wishing each other prosperity.)

Lady and Lord of Abundance — Lady and Lord of Green Crops

For Osiris’ part, like so many Gods, He is identified with the cycle of the living and dying grain. The Coffin Texts connect Osiris and grain with immortality: “I am Osiris . . . I live and grow as Neper [“Corn” or “Grain”], whom the august gods bring forth that I may cover Geb [the earth], whether I be alive or dead. I am barley, I am not destroyed.” The texts also tell us that the deceased, identified with Osiris as the Divine grain, nourishes the common people, makes the Gods Divine, and “spiritualizes” the spirits. Thus bread and grain are more than just bodily sustenance; they are spiritual sustenance as well.

I am emmer wheat and I will not die — I live and grow as Grain…

Temple walls show grain growing out of the body of the dead Osiris while His soul hovers above the stalks. But it is not enough that the grain sprouts and grows. It must also be transformed so that Osiris Himself may also be transformed. And, as in the main Isis and Osiris myth, the Goddess is the one Who transforms the God. In the myth, She does this by reassembling His body and fanning life into Him with Her wings. Using the grain metaphor, Isis becomes the Divine Baker Who transforms the raw grain into the risen and nourishing bread. In the Book of Coming Forth by Day, the deceased person asks for a funeral meal of “the cake that Isis baked in the presence of the Great God.”

Emmer wheat, the most common type from which the ancient Egyptians made bread

As a symbol of transformation and ongoing life, grain has magical properties. Some of the funerary texts have the deceased rubbing her body with barley and emmer wheat in order to partake of these magically transforming properties.

In several temples where important festivals of Osiris were held, the priests made a complex form of bread, called Divine Bread, that was molded in the shape of Osiris. (In fact, the ancient Egyptians were quite adept at using molds to bake bread in a variety of shapes and forms.) The Osirian Divine Bread was made from grain and a special paste consisting of ingredients such as Nile mud, dates, frankincense, fresh myrrh, 12 spices with magical properties, 24 precious gems, and water.

A "corn Osiris" ... perhaps molded like the Divine Bread — A “corn Osiris” … perhaps molded like the larger Divine Bread of Mendes?

At Denderah, this Divine Bread was modeled into the shapes of the pieces of the body of Osiris and sent to the various cities in which Isis was said to have enshrined them.

At Mendes (which is where, we must note, the phallus of Osiris was enshrined), a sacred marriage was part of the Osirian celebrations. It took place between the Goddess Shontet, a form of Isis, and Osiris as the grain. In the Goddess’ holy of holies, Her sacred statue was unclothed and grain was strewn on a special bed before Her. After allowing some time for the Goddess and God to unite, the grain was gathered up, then wrapped in cloth, watered, and used to model a full-body figure of Osiris Khenti-Amenti (“Osiris, Chief of the West,” that is, the Land of the Dead). Finally, Osiris the Divine Bread was buried with full ceremony, including a priestess who took the role of Isis to mourn Him and work the transforming magic of the Goddess.

Several ancient writers describe an entirely different type of bread also associated with Isis. It is lotus bread. According to Herodotus, the Egyptians who lived in the Delta gathered the lotuses that grow profusely there. They dried the centers containing the seeds then pounded them into flour that was made into bread. Lotus-seed bread was made from both the white and the blue water lilies. The lily rhizomes were also used; they were dried, then ground into flour for bread making—though the rhizome version was likely to have been less palatable than the seed bread. In Diodorus’ account of Egyptian prehistory, he mentions that lotus bread was one of the Egyptian subsistence foods and that the “discovery of these is attributed by some to Isis.”

Isis is the Lady of Abundance Who gives us the bread of earthly life; and She is the Divine Baker Who makes the magical bread that gives us eternal life. She is the Goddess Who regenerates the Grain God as She guides the transformation of Her Beloved from the threshed grain into the ever-living Green God Osiris. She is the Goddess of Divine Bread Who feeds our bodies and souls and Her sacred bread is a pleasing offering to Isis, Goddess of Transformation.

Let’s get baking!

Fierce Isis

As Weret Hekau, Great of Magic, Isis’ magical “push” can be powerful indeed. If you are inclined to your own magical pushing every now and then (as I am), let me suggest one thing first: connection to Great Isis before any other Work.

Commune with Her about your purpose. Ask Her advice. Many of us are feeling anger right now, and while anger is not necessarily out of place in magic (as you will see in the upcoming tale), it can be blinding and cause us to make mistakes. Centering in Her Divinity will always help us see more clearly.

That said, as you know, Isis is not all sweetness and light. So today, we have an Isis story that shows Her fierce and fiery aspect and which you may not have heard before.

This is a tale of Isis the Avenger and it is from the Papyrus Jumilhac. The only publication of the papyrus has been in French (which is why English readers probably haven’t heard the tale). Via the blessings of interlibrary loan, I was able to borrow the French text.

The Papyrus Jumilac is about 23 “pages” long. It is a Ptolemaic text (approximately 2nd century BCE) but it was found in Upper Egypt and records some thoroughly Egyptian myths. It may have been a sort of training manual for the priesthood of the 17th and 18th nomes and tells stories connected with the local landmarks. Our Isis story from it is a tale of transformations, and in it, Isis changes Herself into a hound, a uraeus serpent, Hathor, and Sakhmet—all in Her pursuit of and revenge upon the murderer of Her husband.

Herewith is the tale of Isis the Fierce:

The story bears a little commentary to explain some of the features. Isis is pursuing Set in revenge for His having murdered Osiris. It is interesting to note that it’s not Horus the Avenger Who is going after Set, but Isis the Avenger. I’m not sure exactly where the local Gebal is; but we are told that it is south of Dunanwi. Dunanwi is a local God of the 18th Upper Egyptian nome, so perhaps the direction refers to a temple or shrine of the God or the text is using the Deity’s name as a name for the nome itself.

Although Isis’ first transformation is into “Her Mother” Sakhmet, Isis is repeatedly called by the name and epithets of Hathor, a local Goddess of Geheset. Geheset is a mythically powerful place; it hasn’t been conclusively identified with any real place in Egypt, but some scholars believe it may be at modern Komir, on the westbank of the Nile, south of Esna. (Interestingly, Komir was a center of the worship of Nephthys and a temple dedicated to Her has been found there. It is in the 3rd nome, however, south of the 17th and 18th nomes.) The Jumilhac papyrus does contain more information on Geheset. In another passage it says:

Now, in the 4th nome, there was a famous Hathor cult center in Pathyris or Aphroditopolis, modern Gebelein. It is reasonably near to the Komir Nephthys temple. If this is the mythical Geheset, then Nephthys being at Isis’ (as Hathor) side makes some geographic sense.

For the final part of the tale, Isis Herself takes the form of the holy cobra, the uraeus serpent. As a great serpent, She kills all of Set’s companions with Her venom. Their blood pours out on the mountain and becomes juniper berries (prsh); there is an Egyptian pun here on juniper berries and the flowing out of blood. In another part of the Jumilhac papyrus, Isis “cut up Set, sinking Her teeth into His back” and in yet another She first transforms into Anubis, “and having seized Seth, cut Him up, sinking Her teeth into His back.” (Is there some connection between Isis transforming Herself into a dog with a knife in Her tail and later into Anubis?)

The myths recorded in the Papyrus Jumilhac are surely much earlier Egyptian stories that the priesthood used to teach their tradition in the temples of the 17th and 18th nomes. There were almost certainly other tales like these, from other nomes, in which it is Fierce Isis Herself Who takes revenge upon the murderer of Her beloved Osiris. I hope someday we will find more of them.

May the Fierce Goddess always protect you and guide your heka.

More Occult History of the Mensa Isiaca

Part 3

For the past couple of weeks, we’ve been looking into the history—occult and otherwise—of the unique artifact known as the Mensa Isiaca or Table/t of Isis. And it is, literally, unique. We have no other ancient artifact like it. It is a large bronze tabletop, or perhaps altar top, with Egyptianizing figures and pseudo-hieroglyphs, all expertly crafted in polychrome metals.

Lets dive back in and see what some other writers, thinkers, and magicians had to say about it.

Other Ideas

Following Kircher’s intensive explication of the meaning of the Mensa, it became a subject of much scholarly discussion. For centuries.

In 1719, a monk named Bernard de Montfaucon addressed the Mensa. Montfaucon was a scholar and is credited with helping to develop early archeology. He thought the Mensa described Egyptian religion in some way and found it very symbolical and enigmatic. He went on to describe the Mensa in some detail, seeing almost every figure in it as either Isis or Osiris. Of Kircher’s interpretation, he commented, somewhat snarkily, that he doubted whether any Egyptian had ever thought as he did.

In his Sacred and Profane History of the World Connected, Samuel Shuckford considered the Mensa to have been made before the Egyptians came to worship their Deities in anthropomorphic form because the priests shown kneeling in the border all kneel before animal forms.

William Warburton, a Christian Bishop and writer, came pretty close to modern thinking about the Mensa. He thought it was made in Rome by an Isis devotee due to the odd mixture of hieroglyphs and the fact the Isis is clearly the most important figure. Yet another writer, Paul Ernest Jablonski, thought the central figure was Neith. He saw Isis in a number of the other female figures and thought that the Mensa was a calendar of Egyptian festivals, adjusted to Rome.

Levi’s attribution of the sections of the Mensa Isiaca to Qabalistic and astrological symbolism—and thus to the tarot

The English masonic authority, Kenneth Mackenzie took note of the Mensa because of its three-part division and thus its possible correspondence with three-part craft masonry.

Eliphas Levi & the Mensa Isiaca

Eliphas Levi, a French writer, esotericist, and magician, also had an interest in the Mensa Isiaca. Writing in his History of Magic (1860), Levi said,

The most curious, and at the same time the most complete key to the Tarot, or modern version of the famous Book of Thoth, is found in the Isiac Tablet of Cardinal Bembo, which has been represented by Kircher in his work on Egypt: this learned Jesuit has divined, without being able to establish complete proof, that this Tablet contained a key in hieroglyphics to the sacred alphabet.
History of Magic, Eliphas Levi

(You see, it was the secrets of the Alphabet of Thoth that the Hebrews took with them when they left Egypt…and thus developed Qabalah…which, in Hermetic Qabalah, has correspondences to the tarot.)

Looking at his chart (above) and his description in his book, I am baffled as to how he reached some of his conclusions. For instance, he says there are 21 images in the middle register that correspond to the letters of the alphabet. Surely he must mean the Hebrew alphabet, but neither the French, Hebrew, nor Egyptian alphabets have 21 letters. Second, there’s no way I can count the figures in the middle register that adds up to 21. You?

An easier-to-see illustration of the Mensa Isiaca; click to enlarge

But perhaps it’s all just too recondite and admirable for me. Or perhaps Levi cheated a bit. Westcott (remember him from last week?) was a big fan of Levi and in his own book on the Mensa, he expanded on Levi’s comments, connecting the images and divisions of the Mensa to various Qabalistic and astrological symbols.

The Secret Teachings of All Ages & the Mensa Isiaca

Manly P. Hall in his Secret Teachings of All Ages introduces the section on the Mensa Isiaca by quoting “a manuscript by Thomas Taylor” that said,

Plato was initiated into the ‘Greater Mysteries’ at the age of 49. The initiation took place in one of the subterranean halls of the Great Pyramid in Egypt. The Isiac Table formed the altar, before which the Divine Plato stood and received what was always his, but which the ceremony of the Mysteries enkindled and brought from its dormant state. With this ascent, after three days in the Great Hall, he was received by the Hierophant of the Pyramid (the Hierophant was seen only by those who had passed the three days, the three degrees, the three dimensions) and given verbally the Highest Esoteric Teachings. After a further three months’ sojourn in the halls of the Pyramid, the Initiate Plato was sent out into the world to do the work of the Great Order, as Pythagoras and Orpheus had been before him.
Manly P. Hall, The Secret Teachings of All Ages

Due to the popularity of Secret Teachings, this statement has been often repeated in various esoteric publications, both print and digital. For the record, there is nothing like this in any of Thomas Taylor’s* published works, nor are there any known records of such details of Plato’s purported initiation. According to the Greek historian and geographer Strabo, Plato studied in Egypt for 13 years, learning geometry and theology. But the description above sounds perhaps a bit too masonic with its three degrees. For the rest of his section on the Mensa, Hall relies mainly on Westcott’s book.

IYNX! A Funny Thing Happened on the Way to this Blog Post

Strangely, this part of the Mensa is what Kircher labels the Azonian Hecatine Triad

Perhaps it was a subconscious prompting. Or perhaps it really was a meaningful synchronicity. But here’s what’s going on. I keep a folder with blog post ideas. And since the Getty Museum semi-recently put out a paper on their study of the Mensa, I thought, “why not?” What I intended to be one post turned into three. And then I came across a somewhat surprising name in Kircher’s discussion of the Mensa. The name is Hekate.

Where does She come into it? Remember that Westcott remarked that the Mensa’s cosmic scheme is almost identical to that of the Chaldean Oracles? Well, if you’ve got Chaldean Oracles, you’ve got Hekate. She is the Anima Mundi, the Soul of the World, and the connector between the Empyrean (heavenly) and Hylic (earthly) Worlds.

And that funny word, Iynx, with which the Mensa’s Isis is labeled? It can be a magical tool—the so-called strophalos, or wheel, of Hekate—a bird used in erotic magic, or a type of Being in the Chaldean system. As a Being, Iynges (plural) are “transmitters” of higher-level energies to the lower worlds. The Hathor-headed pillar in the center of the image (above) is what Kircher says is “Isis under the form of Hekate.”

Isis—as the “Supreme Mind, or Pantomorphous Iynx”—sits in the center of the Mensa, connecting everything and transmitting the Divine energies throughout the Universe.

Don’t know if these are actually supposed to be Chaldean Iynges, but it will do

Why does this matter to me right now? Because I’m preparing to take part in a Fall Equinox festival dedicated to Hekate. I’ve been working with Her for many months now in preparation. And so, with this series of posts, my two Goddesses have come together for me, for now.

A Meditation

As you can see, the Mensa Isiaca, the Table of Isis, has been a screen upon which many have projected their thoughts for hundreds of years. Even as a Roman work of art with incomprehensible hieroglyphs, it has served as an Egyptological and esoteric inspiration. And, I think, it has also shown how things can be symbolically connected, even if that was not the original intent of the work. And though we may not be quite as invested in all ancient religions being the same as Kircher was—still—there is something beautiful and magical in the weaving of those connections.

Honestly, a meditation like Kircher’s could be very worth doing for Isis devotees. For instance, we might pick out an ancient Egyptian image of Isis (like the one at the top of this post) and, in gentle meditation, give a meaning to each and every detail, each and every color the artist used. When we do, we’ll see what connections arise for us and in us. No doubt, it won’t be exactly what the ancient Egyptians intended. But it will be a meditation of deepening and it might help us identify some of our own inner symbolism and how, for us, it connects with Isis.

*Thomas Taylor was an 18th-19th-century English translator and neoplatonist. He was the first to translate into English the complete works of Aristotle and Plato.

The Occult History of the Mensa Isiaca

Frontpiece of the oldest known treatise on the Mensa Isiaca; first edition 1605; Lorenzo put himself in the picture as the artist/scholar

Part 2

A Mysterious Artifact

At about the time we first hear about the Mensa Isiaca, non-Egyptians were becoming increasingly fascinated with ancient Egypt. They wanted to discover what the hieroglyphs said. And because it had so many hieroglyphs, the Mensa Isiaca was one of the key sources for such early discovery.

One of earliest to take a specific interest in it was Lorenzo Pignoria, an Italian cleric, antiquarian, writer, and philosopher. In 1605, he published “An accurate explanation of the very Ancient Brazen Tablet, engraved with the Sacred Figures of the Egyptians.”

It includes a drawing of the Mensa, but apparently Pignoria was only able to identify a few of the figures and pronounced himself unable to fully unravel its secrets. Yet now a large-sized reproduction of the Mensa, in convenient paper form, was available to other researchers.

The Secrets of the Egyptians

It was Athanasius Kircher, a German Jesuit scholar and polymath, who really went to town on the Mensa. He believed it to be from the holy-of-holies of an Egyptian temple and to contain a wealth of mystical secrets.

Kircher’s personal studies spanned most of the arts and sciences of his day, from music to geology, as well as multiple languages, including Coptic. He correctly understood Coptic to be a late form of ancient Egyptian and produced a book on Coptic grammar.

While he was a devout Catholic and a biblical literalist, he also wholeheartedly embraced the Hermetic writings, no doubt influenced by Marsilio Ficino and Pico della Mirandola before him. He had a keen interest in ancient Egypt and considered Egypt to be the source of all ancient religion, from Greece and Rome to China and the Americas.

Title page of *Oedipus Aegyptiacus*, 1654; Kircher shows himself as Oedipus solving the riddle of the Egyptian sphinx

Thus, he wanted to understand ancient Egyptian religion because he believed it was humankind’s earliest and that there were underlying harmonies in all religions. Through later, better-documented religions, he believed he could extrapolate information about the Egyptian. According to Kircher, the theologies of Zoroaster, Orpheus, Pythagoras, Plato, Proclus, the Chaldeans, and Hebrew Qabalah all had their source in ancient Egypt. He was definitely of the “all the Gods are one God” school…with that one God (eventually) being the Holy Trinity of Father, Son, and Holy Spirit.

His key Egyptological work is Oedipus Aegyptiacus, published in 1654. In it, he put his ideas about the connections between ancient religions and Egypt into practice and claimed to have deciphered the hieroglyphs—with the Mensa Isiaca and several Egyptian obelisks (still in Rome today) assisting in this endeavor.

An illustration of Isis from the *Oedipus Aegyptiacus* following Apuleius’ description of the Goddess

There’s quite a lot that could be said about Kircher. His work has been derided because of how much he got wrong. Yet, studying what was available to him, he did indeed get some things right about ancient Egypt. Oedipus Aegyptiacus, along with his Coptic grammar, are now considered some of the very earliest works of Egyptology. Unfortunately, one of the things he got right wasn’t the hieroglyphs. His hieroglyphic interpretations are both highly cosmological, highly Neoplatonic, and completely wrong. It’s all quite complex and I won’t go into it here, except for what he says about Isis.

Kircher’s Isis

In Kircher’s Father-Son-Holy Spirit trinitarian scheme, Isis is—interestingly—the Son. Thus, She is the savior, just as she was in the the Hellenistic world. (Kircher had read his Apuleius.) In Oedipus Aegyptiacus, much of his Egyptian discussion is given under the heading, “The Temple of Isis.” By doing so, he was placing all of his Egyptian interpretations under the purview of the Goddess of Wisdom, our Lady Isis.

William Wynn Westcott, medical doctor, freemason, a founder of the Hermetic Order of the Golden Dawn, and author of a book about the Mensa Isiaca

Since I don’t read Latin, when it comes to Kircher’s interpretations of the Mensa, I’m going to rely on W. Wynn Westcott’s translated quotes and discussion of Kircher’s text in his own book on the Mensa, The Isiac Tablet. Westcott was very much a fan of Kircher’s interpretation of the Mensa—and added his own interpretations as well.

Kircher’s and Westcott’s Isis

Westcott says that the philosophy and theosophy Kircher associates with the Mensa Isiaca is almost identical with that of the Chaldean Oracles, an important text to Neoplatonists, now only known from quotes in other works. And furthermore, that it also has much in common with the Hebrew Qabalah. Here, he quotes Kircher’s explanation of the Mensa:

The universe is regulated from the Paternal Foundation through three triads; this Foundation is variously called The Iynx, Soul of the World, the Pantomorphous Redeemer, and by Philo, the Constructive Wisdom, and exists in the perfection of triads of Pater, Potentia, and Mater, or Mens, the Father, the Power, and the Mother, or Design: coexisting with Faith, Truth, and Love.
Westcott, in The Isiac Table, quoting Kircher in Oedipus Aegyptiacus

Kircher is talking about the figure of Isis in the center of the Mensa as the Paternal Foundation. She is Isis and She is the Iynx, the Soul of the World, and the Panomorphous (All Formed) Redeemer. He goes on to say that the figures around Her are administrators of the Divine power in various spheres, such as the zodiac, the planets, and the winds.

Later, he says the central seated figure of Isis is “the Supreme Mind, or Pantomorphous Iynx Multiform Sphynx or Logos, Word, or Soul of the World, and is placed here in the middle, as in the Centre of Universal Nature.”

Isis’ enthroned posture means dominion and power; the dog on Her throne (looks more like a cat to me) is because “the Isiac Iynx is associated with the Dog Star, Sirius.” Her winged clothing “denotes the sublime velocity of the higher powers.” Each and every detail of the image is given mystical significance. (It’s a lot, so I won’t include it here. What’s more, almost every figure in the Mensa, he considers to be a form of Isis…She’s pantomorphous, after all.)

Some things he gets right. For instance, he says the disk and scarab represent the sun. Other things don’t match what we know about Egyptian symbolism, but gain meaning through Kircher’s mystical exercise. For instance, the alternating black and white stripes on the lotus-form columns represent the ups and downs of earthly life, which Isis as “the mother of Universal Nature” rules.

All in all, Kircher’s decoding of the Mensa Isiaca reveals cosmic Mysteries containing the Wisdom of the Egyptians, with Isis in Her many forms guiding and controlling the multifaceted Universe throughout.

Kircher Isn’t the Only One

The importance Kircher gives to Isis, and his ongoing influence, especially in esoterica, is one of the keys that helps us understand why Isis continued to be such an integral part of the western spiritual imagination. Through works such as Kircher’s, She remained an important part of the Western Mystery Tradition.

Well, I’m at the end of this post and we’re still not quite to the end of this exploration of the Mensa. I thought I’d be able to do it in two, but it looks like three will be the charm. So next time we’ll look at what some other historians and occultists had to say about the Mensa. And I’ll tell you about a weird synchronicity that happened for me in relation to these posts.

The central register of the Mensa Isiaca with Isis enthroned

What is the Mensa Isiaca?

Have you ever heard of the Mensa Isiaca?

Did this mysterious Isiac artifact serve as the altar when Plato received his initiation into the Egyptian Greater Mysteries in a secret, subterranean hall beneath the Great Pyramid? Was it an altar top from a Roman Temple of Isis? Was it a repository of ancient occult lore? A key to the hieroglyphs? Or the tarot? Perhaps it was just a rather expensive piece of home decor for a rich Roman with a penchant for Isis?

All of these things have been suggested as the ultimate identity of this significant Isiac artifact. It has quite the history…and some legit mysteries, all of which we take a look at as we try to find out more about this literally unique artifact—and discover what it has meant in the long story of the worship of our Goddess Isis.

As you may have guessed, “Mensa Isiaca” is Latin. It means “Table (or Tablet) of Isis.” It’s also known as the Bembine Table of Isis. I’ll explain why in a bit.

One of the prizes in our library, a copy of one of the few works about the Mensa Isiaca. The author is W. Wynn Westcott, one of the three founders of the Hermetic Order of the Golden Dawn.

First, what is it?

The Mensa Isiaca is a large bronze tabletop inlaid with polychrome metals—that is, a variety of colored metals—featuring Egyptian figures in a selection of typical Egyptian-style poses, all surrounding the central, enshrined figure of Isis. Or at least She has always been taken to be Isis due to the popularity of the Goddess during the period of the Mensa’s creation, sometime between the 1st century BCE and the 1st century CE. And it was almost certainly made in Rome.

The reason we cannot be absolutely sure the central figure is Isis is that, while the Mensa includes hieroglyphs, they are only pseudo-hieroglyphs and cannot be read. They are decoratively placed near the figures, as well as around the lip of the Mensa and the borders that separate its three surface registers. So, unfortunately, they cannot help us clearly identify the figures on the Mensa. The Mensa’s later interpreters, however, did not know this and spent a good deal of brainpower on trying, unsuccessfully, to decipher the glyphs.

The art style is all very Egyptian, in the Hellenistic mode. In other words, the images look very much like the ones found in many of the Hellenistic-era temples we see in Egypt today. It’s that slightly softer style you see at Denderah rather than the older, crisper style at Abydos.

But before we go further, you may be wondering what the Mensa Isiaca looks like; click for a larger image:

The Mensa Isiaca; I know, it’s hard to see, so there’s an illustration later in the post. As you may have guessed, that’s Isis in the middle.

I hadn’t remembered how large the Mensa Isiaca was until I read a recent article with results from an intensive study of the Mensa while it was on loan from Italy’s Turin Egyptian Museum to the Getty Museum in L.A. At almost 50 inches wide (126 cm) and 30 inches tall (75.5 cm), it is decidedly table-sized rather than tablet-sized. It also has a slightly-over-2-inch lip on all sides of the table. I had been picturing it as something a bit more portable. But no. It’s of an impressive size as well as being an impressive work of art.

While at the Getty Museum, researchers took advantage of new technologies that enabled them to study the Mensa Isiaca in new depth and non-invasively.

Examples of Egyptian polychrome metalwork; note the inlaid gold, silver, and copper

A striking feature of the Mensa is its polychrome inlays. Earlier in the Mensa’s history, some of the more colorful inlays had been described as enamel. Others suggested that the beautiful variety of colored metals were the result of Egyptian alchemical experiments. Researchers found that the metalsmiths used at least seven distinct alloys, including silver, gold, black bronze, and a variety of different copper and zinc alloys. They achieved colors from red, yellow, orange, and brown to blue-grey. Each figure is intricately outlined in silver or black bronze wire. The Mensa is in remarkably good shape and shows no signs of ever having been buried. In other words, it has remained in someone’s hands throughout its lifetime.

An illustration of the Mensa Isiaca so you can more easily see the imagery; click to enlarge

Polychrome metalwork was a specialty of Egyptian craftspeople; we have examples from at least the 18th dynasty and researchers now think the technique was much more widespread than they had previously believed. Thus, the Mensa Isiaca was created using techniques that were genuinely Egyptian—even if the craftspeople didn’t know hieroglyphs (many didn’t by that time). Due to the excellence of the work and Egyptian mastery of those techniques, my guess is that is was created by Egyptian metalsmiths working in Rome, perhaps with Roman smiths. But we have no proof. It could also have been made by Roman smiths in an Egyptianizing style.

A closeup of some of the complex metalwork on the Mensa

The green represents where silver was used; the purple represents gold

If you’d like to read all the details about the Getty investigation into the physical properties of the Mensa Isiaca, here’s the link. (Most of the images in this post are from this article.)

What is its history?

There is no historical mention of the Mensa Isiaca until after the sacking of Rome in 1527. Some of the unpaid-for-a-long-time forces of the Holy Roman Emperor, Charles V, overran the city of Rome and went on a rampage of destruction, looting, and killing.

The Mensa was likely kept in one of Rome’s palaces prior to the sacking. Afterwards, it came into the hands of a blacksmith or ironworker who eventually sold it to Cardinal Bembo—after which it was known as the Bembine Table (or Tablet) of Isis. Bembo was an Italian scholar, trained in Neoplatonism and intensely interested in his country’s history. In later life, he was made a cardinal in secret. He is buried in the Santa Maria Sopra Minerva basilica, part of which lies over the older Temple of Isis in the Campus Martius.

The Mensa remained in Bembo’s hands until after his death. Then, it came into the possession of the Dukes of Mantua, who kept it in their museum until 1630, when Mantua was besieged and also sacked. We don’t know how, but it next came into the hands of Cardinal Pava, who gifted it to the Duke of Savoy, who eventually gave it to the King of Sardinia in 1730. In 1797, French troops brought it to Paris, where it was exhibited in the Bibliothèque Nationale. With peace between France and Italy, it was returned to Turin. Today, Turin is the site of Italy’s Museo Egizio (Egyptian Museum) and the permanent home of the Mensa Isiaca.

Proposed original appearance of the central register with Isis, digitally recreated except for missing or damaged areas

In Westcott’s book about the Mensa (see the image above), he notes that a guidebook for travelers to northern Italy by John Murray, published in 1863, mentions the Mensa and gives an unattributed history. Murray says that the Mensa was originally found on Mount Aventine in Rome where once stood a temple of Isis and suggests it was made during the reign of Emperor Hadrian. This period for its creation is entirely possible since Hadrian’s reign roughly matches the current scholarly dating for the Mensa Isiaca—and Hadrian himself was quite the Egyptophile. As far as I can tell, none of the known Isis temples in Rome was on the Aventine hill. But then, much of the Aventine is unexcavated since it is covered with many homes.

What is the Mensa Isiaca’s occult significance?

That’s enough of historical history (as far as we know it) for now. Its occult history is much more interesting. The Mensa Isiaca has been an inspiration to occultists for centuries and was believed to contain the deep secrets of ancient Egyptian mysteries and magic. We’ll get into that fascinating subject next time in Part 2.

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Category Archives: History of Isis

More Epithets of Isis

Is Isis a Virgin Goddess?

Isis in the Aethiopika

The Seshed Band of Isis

Offering to Isis Now Available for Pre-Order

Syncretism & Isis

Is Isis a Moon Goddess?

The Magical Hair of Isis

“Isis & Nephthys work magic for You with knotted cords”

The Rite of the Tiet (the Knot of Isis)

Opening

Invocation of the Powers of Isis

Tying the Knots

Closing

Who is the Goddess Neotera?

She Who Rises at the Opening of the Year

Standing at the Feet of Isis

Isis Magic & Offering to Isis (will be) Back!

Isis & the Magic of Myrrh

Who is Aperet-Iset?

Isis of Pompeii

A Day of Rest

Ahwere and the Magic Book, Part 2

Happy Equinox!

Isis the Avenger

Art of Isis

The Island of Isis

Visiting an Isis Temple at Giza

Is Isis a Virgin Goddess?

Is Isis a Virgin Goddess?

The Divine Bread of Isis

Fierce Isis

More Occult History of the Mensa Isiaca

The Occult History of the Mensa Isiaca

What is the Mensa Isiaca?

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