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In the Pagan tradition, the year is divided into eight festivals that mark the changing seasons and celebrate the cycles of nature. These festivals, also known as Sabbats, are deeply rooted in ancient traditions and beliefs. Each Sabbat is associated with different themes and rituals, providing an opportunity for Pagans to reconnect with nature and honor the divine. The Pagan year begins with Yule, which is celebrated around the Winter Solstice in late December. Yule is a time to honor the rebirth of the sun and the return of light after the darkest time of the year. It is a festival of hope and renewal, with rituals involving the lighting of candles, burning of Yule logs, and exchanging of gifts.

The purpose of this short article is to bring a fascinating object further into the public domain and discuss it interms of its unique imagery. A copper alloy bowl in the collection of the Yorkshire Museum (YORYM: 2010.324) has, since 2010, been displayed in the entrance hall of the museum; a factor that has yet gained it no additional attention in an academic capacity. This short contribution adds to a scheme of research undertaken by the author into the use of phallic imagery in an apotropaic fashion (Parker 2015; Parker & Ross 2016;Parker forthcoming and in prep) as part of an ongoing PhD project with the Open University investigating the archaeology of magic in Roman Britain. The bowl is one part of the Edward Hailstone collection, donated to the Yorkshire Museum in July 1882. The collection of antiquities is comprised of “some fifty stone and bronze implements of the prehistoric era, numerous specimens of Roman, Etruscan, and English Pottery etc.” (YPS 1883, 9-10) and thus formed a somewhat typical collection of a nineteenth century gentleman interested in the ancient world. Hailstone donated a number of objects from Trier including, “a torch-stand, two vessels, and a Lamp, from Trier, all of bronze and of Roman work. and two charms against the Evil Eye from Trier” (YPS 1883, 29).

324 has, since 2010, been displayed in the entrance hall of the museum; a factor that has yet gained it no additional attention in an academic capacity. In that sense, these little weiners were rather remarkable in the holistic, unstigmatised bridges they built between ones sexual, physical, and spiritual identity.

It is a festival of hope and renewal, with rituals involving the lighting of candles, burning of Yule logs, and exchanging of gifts. Imbolc, also known as Brigid's Day, is the next Sabbat, taking place on February 1st. This festival marks the awakening of the earth and the first signs of spring.

Fascinating Fascina: Apotropaic Magic and How to Wear a Penis.

Fascina, or phallic pendants, represent a diverse and intriguing corner of Roman small-finds studies. These objects depict the human penis—often with testes and pubic hair, and sometimes in combination with other good-luck symbols—and ancient texts suggest they were used by children and men as apotropaic devices against the evil eye. This article brings together ancient texts, mortuary assemblages, artifact analysis, and experimental archaeology to examine who used these pendants, how they were worn, and the implications for object function. Phallic pendants are most frequently interred with children, and associated metal and leather finds suggest that some were suspended from the body. Among these pendants are representations of both flaccid and erect penises, with some of the latter having erections that would have projected three-dimensionally from the wearer. Experiments with one of these ithyphallic pendants demonstrate that these phalli can be highly mobile while staying erect, characteristics that likely increased the protective capabilities of these pendants.

Related Papers

Phallic imagery is recorded throughout the Roman world and it is generally considered to be apotropaic in nature. Very few archaeological studies have attempted to better contextualise aspects of this imagery, either in isolation or in regional studies. This paper collates the evidence for phallic carvings on stone in the north of Roman Britain and assesses them contextually, stylistically, spatially and chronologically. It is argued that there are three major stylistic category of phallic carving, as well as a nuanced range of places where phallic carvings are appropriate inclusions and that their spatial use relates to liminal places within the built environment of Roman Britain.

January 2017 edition of the Roman Finds Group's bi-annual newsletter Lucerna, featuring articles on A Copper-Bowl with Phallic Decoration from Trier,in the Collection of the Yorkshire Museum by Adam Parker, A Crossed Line: A Slightly Different (?Military) Harness Mount by M. J. Dearne and Bringing Writing Tablets to Life by David Sherlock

The purpose of this short article is to bring a fascinating object further into the public domain and discuss it interms of its unique imagery. A copper alloy bowl in the collection of the Yorkshire Museum (YORYM: 2010.324) has, since 2010, been displayed in the entrance hall of the museum; a factor that has yet gained it no additional attention in an academic capacity. This short contribution adds to a scheme of research undertaken by the author into the use of phallic imagery in an apotropaic fashion (Parker 2015; Parker & Ross 2016;Parker forthcoming and in prep) as part of an ongoing PhD project with the Open University investigating the archaeology of magic in Roman Britain. The bowl is one part of the Edward Hailstone collection, donated to the Yorkshire Museum in July 1882. The collection of antiquities is comprised of “some fifty stone and bronze implements of the prehistoric era, numerous specimens of Roman, Etruscan, and English Pottery etc.” (YPS 1883, 9-10) and thus formed a somewhat typical collection of a nineteenth century gentleman interested in the ancient world. Hailstone donated a number of objects from Trier including, “a torch-stand, two vessels, and a Lamp, from Trier, all of bronze and of Roman work. and two charms against the Evil Eye from Trier” (YPS 1883, 29).

Greco-Roman Gold and Coral Phallic Pendant / Christie’s

It is associated with purification, creativity, and the rekindling of inner light. Pagans often honor the goddess Brigid during this time, lighting candles and making offerings in her name. The vernal equinox, known as Ostara, occurs around March 21st and heralds the arrival of spring. It is a time of balance and fertility, where day and night are equal. Pagans celebrate Ostara by decorating eggs, planting seeds, and holding ceremonies to honor the renewal of life. Beltane, also known as May Day, is the next major Sabbat and is celebrated on May 1st. This festival marks the peak of spring and the beginning of summer. It is a time of joy, growth, and love. Pagans often participate in bonfires, fertility rituals, and dancing around maypoles to honor the energy and passion of the season. Litha, also known as the summer solstice, occurs around June 21st and celebrates the longest day of the year. It is a time of abundance, light, and expansion. Pagans often gather to watch the sunrise, perform rituals to honor the sun, and create flower crowns and other summer adornments. Lughnasadh, also known as Lammas, is celebrated on August 1st and marks the beginning of the harvest season. It is a time to give thanks for the fruits of the earth and to honor the god Lugh. Pagans often engage in feasting, making corn dollies, and participating in athletic competitions to celebrate the abundance and generosity of the land. The next Sabbat, Mabon, takes place around the autumn equinox on September 21st. It is a time of balance and gratitude, as day and night become equal once again. Pagans honor the harvest and give thanks for the abundance of the earth. They may participate in rituals involving apple picking, making harvest wreaths, and sharing meals with loved ones. The final Sabbat of the Pagan year is Samhain, also known as Halloween, celebrated on October 31st. Samhain is a time when the veil between the living and the dead is thinnest, allowing for communication with ancestors and spirits. It is a time of reflection, remembrance, and letting go. Pagans often hold ceremonies to honor their ancestors, leave offerings for the departed, and engage in divination practices. Overall, the Pagan year is a rich tapestry of seasonal celebrations and rituals that honors the cycles of nature and the divine. Each Sabbat holds its own unique energy and significance, providing Pagans with opportunities to connect with their spirituality, embrace the changing seasons, and celebrate the sacredness of the natural world..

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