Wicca Full Moon Magic: Rituals, Spells and Symbolism

A witch’s guide to casting spells for personal growth and manifestation at every month’s full moon. 

There’s something undeniably mystical about the full moon. For millennia, humans have gazed up at its silvery glow, attributing to it a profound influence over our lives and the world around us. The moon, ever-changing yet constant, holds sway over the tides, plants, animals, and even our own emotions and body. 

In Wiccan tradition, the full moon represents the pinnacle of the lunar cycle — a time when energy is at its most powerful, and the Goddess is at her fullest expression.

“The moon is a constant companion in the sky, guiding us through the changing seasons and reflecting the cycles of growth, harvest, rest and renewal.

Each full moon offers a unique opportunity to reflect, set intentions and harness the power of lunar magic.”

Wiccans celebrate the full moon with esbats, monthly rituals that connect practitioners to the cycles of nature and the power of the Goddess. Each full moon carries with it a unique energy tied to the time of year, offering us the chance to reflect, cast spells and align our intentions with the rhythm of the Earth. From the deep, introspective energy of the Wolf Moon in January to the reflective stillness of the Cold Moon in December, each moon has its own story, a moment in the year to tune into, and a special kind of magic to offer.

In this guide, we’ll explore the full moons of the year, and simple rituals and spells to help you harness the power of each moon, drawing on their seasonal energy for personal growth, healing and manifestation. Whether you’re planting the seeds of intention with the Worm Moon or gathering your strength with the Buck Moon, these rituals are designed to be simple yet powerful, allowing you to connect deeply with the cycles of nature.

Full moons are a great time to channel the energy of the Goddess by Drawing Down the Moon. 

Wolf Moon (January)

As the first full moon of the year rises in the cold January sky, we hear the howls of wolves carrying through the still, frozen air. In the heart of winter, food is scarce, and the pack comes together to hunt and survive. The Wolf Moon is a time of endurance, resilience and unity — a reminder that even in the darkest, coldest moments, there’s strength to be found when we draw on our inner reserves and the support of those around us.

In Wiccan tradition, the Wolf Moon encourages reflection. This is a time to assess what you’ve endured, to gather your strength for the year ahead, and to remind yourself of your resilience. The deep winter may seem desolate, but beneath the frozen earth, life is quietly preparing to awaken once again. Similarly, this is a time to prepare spiritually and emotionally, ensuring you’re grounded and strong enough to meet the challenges that await in the coming months.

Symbolism:

• Inner Strength: Like the wolf, you have the power to survive the harshest conditions.

• Endurance: Winter teaches patience, reminding us that everything cycles back to life.

• Reflection: This moon invites you to look inward, to sit with yourself and your thoughts.

Wolf Moon Ritual Spell: Strength in Stillness

This simple ritual taps into the quiet yet powerful energy of the Wolf Moon, allowing you to connect with your inner strength and prepare for the year ahead.

You’ll need:

• A white candle 

• Rosemary or sage

• A journal or piece of paper

• A pen

Create your space: Find a quiet place where you won’t be disturbed. Light your white candle, representing the clarity and light that the moon brings in the darkness.

Cleanse your space: Burn the rosemary or sage, moving it in a circular motion around your space to cleanse it of any negativity.

Reflect: Sit with your candle, focusing on its flame. Reflect on the challenges you’ve faced in the past year and the inner strength you’ve gained. Write these reflections down in your journal or on a piece of paper. Think about what you want to accomplish or experience in the coming year. 

Chant:

Wolf of night, guide my way,
Through the dark and through the day.
With each breath, I will endure,
In my strength, I am secure.

Repeat this chant three times as you visualize your inner power growing. 

Set your intention: Write down one word or phrase that represents the strength you want to carry with you into the new year. Hold this intention in your mind as you extinguish the candle, imagining the flame transferring inside you as your inner power glowing bright.

Keep your reflection: Tuck your reflection somewhere safe — your journal, a drawer or an altar — as a reminder of your strength throughout the year.

Snow Moon (February)

As February arrives, the land is often still blanketed in deep snow, and it’s from this cold, stark image that the Snow Moon takes its name. In ancient times, February was known for heavy snowfall, making survival more challenging. The Snow Moon reminds us that even in the harshest conditions, there’s beauty in simplicity and purity in endurance. This is a time for stillness and inner work, as we patiently wait for the signs of spring.

The Snow Moon invites us to pause and appreciate the quiet moments. Just as snow covers the earth, offering a momentary blanket of calm, this moon encourages us to embrace the stillness in our own lives. Though the cold may seem neverending, beneath the snow, life is beginning to stir, preparing to burst forth when the time is right.

Symbolism:

• Purity: Snow symbolizes a blank slate, a chance to start fresh.

• Endurance: It reflects our ability to survive through hardship.

• Patience: This moon teaches us the value of waiting for the right moment to act.

Snow Moon Ritual Spell: Cleansing in the Snow

This full moon ritual connects you to the purifying energy of the Snow Moon, helping you clear away negativity and refresh your spirit.

You’ll need:

• A bowl of cold water (or, if available, fresh snow)

• A white candle

• A small silver or white stone (such as quartz or moonstone)

Create your space: Light your white candle and place the bowl of cold water or snow in front of you. If you’re using snow, allow it to slowly melt as you meditate on its transformation.

Reflect: Hold the stone in your hands and think about anything in your life that feels stagnant, heavy or in need of cleansing. Imagine the cold water or snow as a tool for washing this away.

Chant: 

Snow that falls, clear the way,
With your light, renew the day.
Wash away the dark and cold,
Bring me strength, pure and bold.

Chant this three times as you focus on releasing the negativity from your life.

Set your intention: Dip the stone into the water or snow. As you do, set your intention for cleansing, visualizing the negativity dissolving as the snow melts. Keep the stone as a reminder of this fresh start.

Complete the ritual: Let the candle burn for a few more minutes as you focus on the feeling of renewal. Carry the stone with you, rubbing it when you feel negativity. 

Worm Moon (March)

The Worm Moon marks the beginning of spring’s thaw, named for the earthworms that emerge as the frozen ground begins to soften. This was the time when early farmers saw the first signs of life returning to the soil, signaling that the season of growth was near. The Worm Moon symbolizes renewal, fertility and the stirring of life beneath the surface. It reminds us that even though the ground may still feel cold, the warmth of new beginnings is just around the corner.

As the first full moon of spring, the Worm Moon represents the start of growth and transformation. It’s a time to plant both literal and metaphorical seeds — setting intentions for the things we wish to cultivate in our lives. Just as the worms aerate the soil, making it fertile for new growth, this moon invites us to prepare ourselves for the changes and opportunities that are beginning to sprout.

Symbolism:

• Renewal: A fresh start, with life awakening after the winter.

• Fertility: A time for planting seeds of growth, both in the earth and within yourself.

• Transformation: The Worm Moon represents change and the beginning of something new.

Worm Moon Ritual Spell: Planting Seeds of Intention

This ritual uses the symbolism of planting seeds to help you set intentions for the new season, nurturing them as they grow alongside the earth’s renewal.

You’ll need:

• Seeds (any type you feel connected to)

• A small pot with soil or a garden space

• A green or brown candle

• A small piece of paper

• A pen

Create your space: Light the green or brown candle and hold the seeds in your hands. Feel their potential for growth and life. Place your hands over the soil, grounding yourself in the energy of the earth.

Reflect: Write down your intentions for the coming season on the piece of paper. What do you want to grow in your life? Think about areas of your life that are ready to transform.

Chant:

Worm of earth, stir the ground,
Awaken life where none is found.
Plant the seeds, watch them grow,
In fertile soil, life will flow.

Chant this three times as you focus on your intentions.

Set your intention: Plant the seeds in the soil, burying the paper with them. As you cover the seeds with soil, visualize your intentions being nurtured and growing strong.

Complete the ritual: Water the soil and place it somewhere where it will receive light. Let the candle burn for a few moments as you hold your vision of growth. Tend to these seeds regularly, symbolizing your commitment to nurturing the intentions you’ve planted.

Pink Moon (April)

The Pink Moon takes its name from the early spring wildflowers, particularly the vibrant pink phlox that bloom across fields and forests in April. Though the moon itself isn’t pink, the name evokes the beauty of new growth and the blossoming of life after the long winter. The Pink Moon symbolizes renewal, beauty and the blossoming of intentions that were set earlier in the year. This is a time of new beginnings, where the seeds planted in March begin to sprout, and the world is bursting with life.

The energy of the Pink Moon is soft and hopeful, like the first flowers breaking through the soil. It’s a time to focus on nurturing the things you’ve already set in motion and to celebrate the small wins that come with early growth. As the days grow warmer and longer, this moon invites you to embrace the beauty around you and the potential for new opportunities in your life.

Symbolism:

• Blossoming: The Pink Moon is about new beginnings, with intentions and goals starting to take root and grow.

• Beauty: This is a time to appreciate the beauty in the world and within yourself.

• Nurturing: Just as flowers need care to bloom, this moon reminds us to tend to our own growth with patience and love.

Pink Moon Ritual Spell: Blossoming Intentions

This ritual invites you to honor the blossoming energy of the Pink Moon, celebrating the growth of your intentions and nurturing them as they continue to unfold.

You’ll need:

• Fresh flowers (pink if possible, but any early spring flower will work)

• A pink or white candle

• A small bowl of water

• Flower petals that represent beauty or love (e.g., rose or lavender)

Create your space: Light the pink or white candle and place the bowl of water in front of you. Scatter fresh flowers around your space to invite beauty and growth.

Reflect: Take the flower petal or herb in your hands and reflect on the intentions you set during the Worm Moon. How have they started to grow? What small steps or changes have you noticed?

Chant:

Pink Moon high, life unfolds,
Blooming bright, the story told.
With each petal, growth I see,
As I bloom, so mote it be.

Chant this three times, focusing on the blossoming energy around you.

Set your intention: Place the petals into the bowl of water, visualizing your intentions continuing to grow and unfold like the flowers around you. As you do, imagine yourself nurturing your goals, providing them with the love and attention they need to bloom.

Complete the ritual: Dip your fingers into the water and gently sprinkle it over the flowers and yourself, symbolizing the nurturing energy you’re giving to your intentions. Let the candle burn for a few moments as you hold the vision of your growth.

Flower Moon (May)

The Flower Moon is a celebration of life in full bloom. Named for the abundance of flowers that flourish in May, this moon symbolizes beauty, fertility and the manifestation of intentions. By this time, the earth is overflowing with color and fragrance, and it’s a reminder that the seeds we’ve planted — both in the ground and in our lives — are now beginning to reach their fullest potential. The Flower Moon is a time to embrace growth, to celebrate progress, and to prepare for the fruit of our efforts.

With nature at its most vibrant, the energy of the Flower Moon encourages us to fully engage with life’s beauty and abundance. Just as gardens need tending to reach their peak, so too do our goals and dreams. This is a time for action, love and gratitude for the gifts that are beginning to come to fruition.

Symbolism:

• Beauty: The Flower Moon celebrates the beauty of the world around us, both in nature and in ourselves.

• Fertility: This moon is ripe with the energy of creation, encouraging both physical and creative fertility.

• Manifestation: It’s a time to see the tangible results of the work and intentions you’ve nurtured.

Flower Moon Ritual Spell: Manifesting Abundance

This ritual honors the vibrant, abundant energy of the Flower Moon, helping you manifest your desires and nurture them as they come to life.

You’ll need:

• Fresh flowers (as many different colors as possible)

• A yellow or green candle

• A small mirror or reflective surface

• A small piece of paper

• A pen 

Create your space: Arrange your flowers in a circle around you or on your altar, bringing in the beauty and energy of the Flower Moon. Light your yellow or green candle, which represents the energy of growth and abundance.

Reflect: Sit with the mirror in front of you, holding it so you can see your reflection. Reflect on the beauty and abundance in your life, both what you have created and what you wish to bring into being. Write one goal or desire on the piece of paper.

Chant: 

Flowers bloom, bright and true,
Abundance comes in all I do.
Growth and beauty now take flight,
Manifest my dreams this night.

Chant this three times, allowing the energy of the flowers and the moon to infuse your intentions with life.

Set your intention: Place the piece of paper with your desire under the mirror or reflective surface. As you do, visualize your intention coming to fruition, blooming as fully and brightly as the flowers around you. Allow the reflection to symbolize the universe’s power reflecting your intention back to you.

Complete the ritual: Let the candle burn for a while as you sit in the energy of abundance. You can later place the piece of paper somewhere significant, like a journal or altar, as a reminder of what you’re manifesting.

Strawberry Moon (June)

The Strawberry Moon takes its name from the ripening of wild strawberries, which are ready for harvest in June. This moon represents abundance, sweetness and the reward for hard work. Just as strawberries ripen after the nurturing warmth of spring, the Strawberry Moon is a reminder to savor the fruits of our efforts and to take time to enjoy life’s pleasures. This is a time for gratitude, celebration and acknowledging the blessings we’ve harvested.

The energy of the Strawberry Moon is joyful and lighthearted, encouraging us to reflect on the sweetness in our lives and the abundance that surrounds us. It’s a time to give thanks for what we’ve manifested so far and to focus on enjoying the moment. This moon teaches us to embrace the joy of the present, while also looking forward to the continued growth and rewards of the summer months.

Symbolism:

• Abundance: The Strawberry Moon celebrates the harvest and the rewards of your hard work.

• Sweetness: It reminds us to savor life’s pleasures and embrace the sweetness around us.

• Gratitude: This moon encourages us to pause and give thanks for the abundance we’ve been given.

Strawberry Moon Ritual Spell: Harvest of Sweetness

This ritual focuses on gratitude and abundance, allowing you to acknowledge and celebrate the fruits of your labor and invite more sweetness into your life.

You’ll need:

• Fresh strawberries

• A red or pink candle

• A small bowl

• A piece of paper

• A pen

Create your space: Place the strawberries in a small bowl and light the red or pink candle. The candle symbolizes the love and sweetness that the Strawberry Moon brings into your life.

Reflect: Take a strawberry in your hand and reflect on the blessings and abundance that have come to you recently. What efforts have borne fruit? Write these blessings down on the piece of paper, acknowledging the hard work that led to them.

Chant:

Strawberry ripe, fruit of light,
Blessings sweet, in my sight.
Gratitude fills my heart and soul,
Abundance grows, making me whole.

Chant this three times, focusing on the sweetness and abundance in your life.

Set your intention: As you eat the strawberry, savor its sweetness and allow yourself to feel grateful for all you have received. Visualize continued abundance flowing into your life as the summer progresses.

Complete the ritual: After enjoying the strawberry, let the candle burn for a few more minutes as you sit in the energy of gratitude. Keep the paper with your blessings as a reminder of the sweetness you’ve harvested.

Buck Moon (July)

The Buck Moon is named for the time of year when male deer, or bucks, grow new antlers, signifying strength, growth and vitality. In July, the full summer energy is at its peak, and nature is full of life and vigor. The Buck Moon represents not only physical growth but also spiritual strength and resilience. This is a time to recognize your own personal power and to build upon the foundations you’ve set. Just as the buck’s antlers grow larger and stronger each year, this moon invites you to tap into your inner strength and prepare for the challenges ahead.

The energy of the Buck Moon is bold and confident. It’s a time for action, for pushing forward with projects and goals that require strength and determination. The warm, fertile energy of July fuels our passions and ambitions, helping us reach new heights in our personal growth and achievements.

Symbolism:

• Strength: The Buck Moon encourages you to recognize and embrace your inner power.

• Growth: Just as bucks grow their antlers, this moon represents both physical and spiritual growth.

• Vitality: This moon is filled with life force, urging you to take action and pursue your goals.

Buck Moon Ritual Spell: Embracing Strength

This ritual taps into the bold energy of the Buck Moon, helping you embrace your inner strength and prepare for growth and challenges ahead.

You’ll need:

• A small branch

• A red or orange candle

• A symbol of strength (this could be a crystal, like tiger’s eye, or a personal object)

• A piece of paper

• A pen 

Create your space: Light the red or orange candle, placing the branch in front of you. This represents the strength and growth of the buck’s antlers. Place your symbol of strength beside it.

Reflect: Hold the branch in your hands and reflect on your personal strength. What areas of your life need your resilience and power? Write down a goal or intention that requires your strength and determination.

Chant: 

Buck of power, strong and true,
Grant me strength in all I do.
With each step, I shall grow,
Like your antlers, life shall flow.

Chant this three times, focusing on the strength you need to embrace.

Set your intention: Place the branch and the symbol of strength on your paper. Visualize your goal coming to fruition through your power and determination, just as the buck’s antlers grow each season. Imagine yourself growing stronger with each day.

Complete the ritual: Let the candle burn for a few moments as you visualize your strength growing. Keep the piece of wood and your symbol of strength in a place where you will see them regularly, reminding you of the power you hold within.

Sturgeon Moon (August)

The Sturgeon Moon gets its name from the bountiful fishing season of sturgeon in the Great Lakes and other major bodies of water in August. This moon represents abundance, sustenance and the rewards of hard work. As the summer begins to wane, the Sturgeon Moon invites us to reflect on what we have harvested so far — both physically and spiritually — and to take stock of the abundance that surrounds us. This is a time for gratitude and preparation, ensuring that we have what we need to sustain us through the months ahead.

The energy of the Sturgeon Moon is one of prosperity and fulfillment. It encourages us to recognize the richness in our lives, whether it be in relationships, personal growth or material success. This moon teaches us to appreciate what we have and to plan for the future, preparing for the shifting seasons while still enjoying the abundance of the present.

Symbolism:

• Abundance: The Sturgeon Moon celebrates the harvest of our efforts and the prosperity we have gathered.

• Sustenance: This moon reminds us to ensure we have what we need to sustain us, both physically and spiritually.

• Reflection: It’s a time to reflect on the bounty we’ve accumulated and to prepare for the seasons to come.

Sturgeon Moon Ritual Spell: Gathering Abundance

This ritual focuses on gathering and recognizing the abundance in your life, helping you prepare for the coming months while celebrating the fruits of your labor.

You’ll need:

• A bowl or basket

• A green or gold candle

• A symbol of abundance (such as coins, seeds or something personal)

• A piece of paper

• A pen 

Create your space: Light the green or gold candle and place the bowl or basket in front of you. This represents your harvest and the abundance you have gathered in your life.

Reflect: Think about what abundance has come into your life this year. What have you worked for that is now bearing fruit? Write these blessings down on the piece of paper, reflecting on the rewards of your efforts.

Chant: 

Moon of wealth, sturgeon’s might,
Harvest comes with strength and light.
Abundance flows to me this day,
With gratitude, I find my way.

Chant this three times, visualizing the abundance you’ve gathered and what it means to you.

Set your intention: Place the symbol of abundance in the bowl or basket, symbolizing your recognition of what you’ve harvested. As you do, set an intention for continued prosperity in the months ahead, ensuring you have what you need to sustain you.

Complete the ritual: Let the candle burn for a few moments as you reflect on your blessings and the abundance in your life. Keep the symbol of abundance somewhere significant to remind you of the prosperity you’ve gathered and the preparation you’ve made.

Corn Moon (September)

The Corn Moon takes its name from the time of year when the corn is ready for harvest. In September, farmers historically gathered their crops, ensuring they had enough to sustain them through the colder months. The Corn Moon symbolizes abundance, harvest and preparation, marking a time when we reap what we have sown throughout the year. As the days grow shorter and the air becomes crisper, this moon invites us to focus on gathering our resources and preparing for the challenges of the upcoming season.

The energy of the Corn Moon is one of gratitude and readiness. It encourages us to recognize the efforts we’ve put into our work, both physical and spiritual, and to celebrate the abundance we’ve created. This is also a time to ensure we are prepared for the coming changes, both in nature and in our personal lives, by gathering what we need to sustain us through the fall and winter.

Symbolism:

• Harvest: The Corn Moon is a time to gather the rewards of your hard work and reflect on your efforts.

• Abundance: It represents the richness that comes from both nature and our own endeavors.

• Preparation: This moon encourages us to take stock of what we have and prepare for the months ahead.

Corn Moon Ritual Spell: Gathering the Harvest

This ritual focuses on harvesting your intentions and preparing yourself for the next phase of the year, using the energy of the Corn Moon to ground and sustain you.

You’ll need:

• A small bowl of corn kernels (or seeds, grains or something symbolic of a harvest)

• A brown or yellow candle

• A small basket or container

• A piece of paper

• A pen

Create your space: Light the brown or yellow candle and place the bowl of corn kernels, etc. in front of you. This represents the harvest you are gathering during the Corn Moon.

Reflect: Think about the work you’ve done throughout the year. What have you cultivated, and what are you now harvesting? Write down the things you’ve successfully brought into your life or any lessons you’ve learned.

Chant: 

Corn Moon bright, harvest near,
Gather now what I hold dear.
Richness comes from seeds I’ve sown,
In this time, my strength has grown.

Chant this three times, focusing on the abundance and lessons you’ve gained this year.

Set your intention: Place the corn kernels, etc. into the small basket or container, symbolizing the harvest you’ve gathered from your efforts. As you do, set an intention to continue nurturing these blessings and prepare for the challenges of the upcoming season.

Complete the ritual: Let the candle burn for a few more moments as you focus on the abundance and strength you’ve gathered. Keep the container as a reminder of your harvest and the work you’ve done throughout the year.

Hunter’s Moon (October)

The Hunter’s Moon marks the time of year when hunters traditionally prepared for the coming winter, gathering food to sustain them through the colder months. As the leaves fall and the nights grow longer, the Hunter’s Moon represents focus, preparation and foresight. It encourages us to gather what we need, both physically and spiritually, for the months ahead. This moon’s energy is sharp and purposeful, much like the hunters who relied on their skills and instincts to provide for their families during this critical time.

The Hunter’s Moon invites us to sharpen our focus and set clear intentions for the future. As the season changes, it’s a time to look ahead, ensuring that we are prepared for whatever lies on the horizon. This moon symbolizes a turning point, where we shift from harvesting to storing and protecting our resources, both in the material world and within ourselves.

Symbolism:

• Focus: The Hunter’s Moon sharpens your focus, encouraging you to pursue your goals with precision and clarity.

• Preparation: This moon is a time to gather resources and ensure you’re ready for the coming challenges.

• Foresight: It invites you to look ahead and plan for the future, making sure you have what you need.

Hunter’s Moon Ritual Spell: Sharpening Focus

This ritual taps into the focused energy of the Hunter’s Moon, helping you prepare for the future and ensure that you have the tools you need to succeed.

You’ll need:

• A small knife

• A dark blue or black candle

• A piece of paper

• A pen 

Create your space: Light the dark blue or black candle, placing the knife in front of you. This represents the sharp focus and precision of the Hunter’s Moon.

Reflect: Think about the goals or challenges that lie ahead for you. What do you need to focus on in the coming months? Write down one goal or challenge that requires your full attention and preparation.

Chant: 

Hunter’s Moon, sharp and bright,
Guide my path through darkest night.
With your light, my focus clear,
I will face the coming year.

Chant this three times, focusing on the goal or challenge ahead of you.

Set your intention: Hold the knife or blade carefully and imagine it sharpening your focus and clarity. Visualize yourself successfully navigating the challenges ahead, with a clear mind and a strong sense of purpose. Set your intention by folding the paper with your goal written on it and placing it under the blade.

Complete the ritual: Let the candle burn for a few moments as you focus on the clarity and strength the Hunter’s Moon offers. Keep the paper in a safe place as a reminder of your commitment to your goal.

Beaver Moon (November)

The Beaver Moon is named for the time when beavers are most active, preparing their lodges for the winter ahead. This moon symbolizes hard work, protection and the final preparations before the arrival of winter. Just as beavers diligently build and fortify their homes, the Beaver Moon invites us to focus on building a strong foundation in our own lives, ensuring we have everything we need to face the colder, quieter months. It’s a time to complete projects, gather resources, and create a safe, nurturing space for yourself and your loved ones.

The energy of the Beaver Moon is industrious and practical, urging us to finish what we’ve started and protect what we’ve built. This moon is a reminder that while winter brings a time of rest, it also requires preparation and planning. By securing our physical and emotional spaces, we can face the coming season with confidence and peace of mind.

Symbolism:

• Hard Work: The Beaver Moon encourages diligence and the completion of tasks.

• Protection: It represents the need to fortify your space, both physically and emotionally, for the coming months.

• Preparation: This moon is a time to gather resources and ensure that you’re prepared for the challenges of winter.

Beaver Moon Ritual Spell: Building Protection

This ritual connects with the Beaver Moon’s industrious energy, helping you create a protective and nurturing space as you prepare for the winter ahead.

You’ll need:

• Twigs or small branches

• A brown or gray candle

• A small stone

• A piece of paper

• A pen

Create your space: Light the brown or gray candle and place the twigs or branches in front of you. These represent the strength and protection of a beaver’s dam. Place the stone beside them to symbolize stability.

Reflect: Think about the areas of your life where you need protection and stability. What do you need to secure before the winter months? Write down a list of things you want to protect or nurture during this time.

Chant:

Beaver strong, build my shield,
In your lodge, I shall be healed.
Guard my heart and guard my home,
Through the cold, I’m not alone.

Chant this three times, focusing on the protective energy around you.

Set your intention: Using the twigs or branches, arrange them in a small “lodge” shape in front of the candle. As you do, imagine yourself building a protective barrier around your home and heart, keeping out negativity and harm. Place the stone in the center to symbolize stability and security.

Complete the ritual: Let the candle burn for a few moments as you visualize the safe, nurturing space you’ve created. Keep the stone and twigs as a reminder of the protection and stability you’ve built during this time.

Cold Moon (December)

The Cold Moon takes its name from the deep chill that sets in during December, marking the arrival of winter in full force. As the days grow shorter and the nights longer, the Cold Moon represents endings, stillness and reflection. It’s a time to embrace the quiet and rest, allowing yourself to reflect on the year that has passed and to prepare for the new cycle that will soon begin. Just as nature settles into dormancy, this moon encourages us to slow down, rest, and take stock of what we’ve learned and accomplished.

The energy of the Cold Moon is calm and introspective, inviting us to reflect on our journey over the past year and to release what no longer serves us. This is a time for closure, letting go of old habits or beliefs that have outlived their purpose. The Cold Moon teaches us that in the stillness of winter, we find clarity, renewal and the seeds of new beginnings.

Symbolism:

• Endings: The Cold Moon represents the closing of the year and a time to bring things to completion.

• Stillness: It invites you to embrace the quiet, restful energy of winter and find peace in stillness.

• Reflection: This moon encourages deep introspection, allowing you to look back on your journey and prepare for a new cycle.

Cold Moon Ritual Spell: Releasing the Year

This ritual connects with the reflective, quiet energy of the Cold Moon, helping you release the past year and prepare for a fresh start in the year to come.

You’ll need:

• A white or silver candle

• A small bowl of water

• A small mirror

• A piece of paper

• A felt-tip pen or marker

Create your space: Light the white or silver candle and place the bowl of water and mirror in front of you. The water symbolizes the flow of time, and the mirror represents reflection.

Reflect: Take a few moments to look into the mirror. Reflect on the year that has passed: What have you accomplished? What lessons have you learned? What do you need to let go of? Write down what you are ready to release.

Chant: 

Cold Moon bright, year’s end near,
With your light, all is clear.
Release the old, embrace the new,
In stillness, I find what’s true.

Chant this three times, focusing on releasing the past and making space for new beginnings.

Set your intention: Gently dip the paper into the bowl of water, imagining the old habits, beliefs or experiences you are releasing dissolving into the water. As you do, visualize yourself moving forward into the new year, lighter and more focused.

Complete the ritual: Let the candle burn for a few moments as you sit in the stillness of the Cold Moon. Blow out the candle, then dispose of the water and paper, symbolizing your release of the past. 

Blue Moon: Harnessing Rare Magic

The Blue Moon is a rare and powerful event in the lunar cycle, occurring only once every few years, when there are two full moons within the same month. 

In Wiccan traditions, a Blue Moon is considered an extra-potent time for magic, when the energy of the full moon is intensified. This moon offers a special opportunity to focus on goals or desires that are particularly important or difficult to achieve. Think of it as a magical “bonus round” — a chance to set intentions for things that might otherwise seem out of reach.

Whether it’s a difficult challenge you’ve been struggling with or a dream you’ve held close for years, the Blue Moon provides the perfect moment to work on manifesting what feels impossible. It’s a time to reach higher, dream bigger and tap into the extraordinary.

Symbolism:

• Rarity: The Blue Moon symbolizes unique opportunities, rare moments and heightened magic.

• Extra Power: This moon provides an amplified boost for particularly important goals or challenges.

• Manifestation: It’s the perfect time to manifest long-held dreams or tackle significant life changes.

Blue Moon Ritual Spell: Manifesting the Impossible

This ritual taps into the heightened energy of the Blue Moon, helping you manifest a goal or desire that feels particularly difficult or distant.

You’ll need:

• A blue candle

• A crystal or gemstone that represents your goal (such as amethyst for spiritual growth or citrine for abundance)

• A small bowl of water

• A piece of paper

• A pen

Create your space: Light the blue candle and place the crystal in front of you. The crystal represents the goal or dream you are working toward, and the water symbolizes the rare, flowing energy of the Blue Moon.

Reflect: Think about the one goal or desire that feels the most important to you — something you’ve struggled to achieve or a dream you’ve held for a long time. Write this down on the piece of paper.

Chant: 

Blue Moon rare, shining bright,
Grant me power in your light.
With your magic, I now see,
Manifest what’s meant to be.

Chant this three times, focusing on the energy of the Blue Moon flowing into your intention.

Set your intention: Hold the paper in your hands and visualize your goal coming to fruition. Place the paper under the bowl of water, imagining the water amplifying your desire and carrying it toward manifestation. Focus on the sense of possibility and magic as you set your intention.

Complete the ritual: Let the candle burn for a while longer as you hold your vision of achieving the impossible. Once you feel ready, blow out the candle and carry the crystal with you as a reminder of your Blue Moon manifestation.

The Magic of the Full Moons Throughout the Year

The moon is a constant companion in the sky, guiding us through the changing seasons and reflecting the cycles of growth, harvest, rest and renewal. By aligning ourselves with the energy of the full moon, we deepen our connection to nature and to our own spiritual journey. Each full moon offers a unique opportunity to reflect, set intentions and harness the power of lunar magic.

As you work with the full moons throughout the year, remember that the rituals and spells are not only about manifesting goals, but also about building a deeper relationship with the cycles of the earth and sky. Take time to journal your experiences, noting how each moon affects you and how your intentions grow and change. Over time, you may find patterns in your own life that mirror the lunar cycle, allowing you to align your personal journey more closely with the natural world.

Whether you’re using the Pink Moon to nurture new beginnings or the Hunter’s Moon to sharpen your focus, the energy of the full moon is always there to support your spiritual growth. And for those rare moments when a Blue Moon graces the sky, take the opportunity to reach for the stars and manifest what once seemed impossible.

The full moons are powerful tools of transformation, guiding you through the seasons of your life. Embrace each one with intention, gratitude and a sense of wonder, knowing that the magic of the moon is always within reach. –Wally

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More Wiccan Wonders await!

Iglesia de San Luis de los Franceses: The Baroque Brilliance of Seville’s Hidden Gem

This little-known chapel will have your head spinning, with gorgeous art and jaw-dropping details in every direction.

When we returned to Sevilla, our friend José told us of a little-known but absolutely gorgeous church, the Iglesia de San Luis de los Franceses (the Church of Saint Louis of France). His partner Jo, who I once dubbed the Rock ’n’ Roll Nanny, gave Duke and me a tour of her favorite spots in Sevilla. In between stuffing our faces with delectable tapas dishes and sipping sherry, she took us to see José’s secret spot.  

We arrived during the lull of siesta, so we bided our time the best way we knew how: by indulging in yet more tapas, finding a quaint café in the Macarena neighborhood. 

When we returned to San Luis and entered the main chapel, we stood stock still as we took in the sheer spectacle before us. We understood immediately why José was so captivated — even for us recovered Catholics. Baroque churches have a way of being extravagantly maximalist, but even by those standards, San Luis packs so much into a small space. 

The chapel is a visual feast, where every surface competes for your attention. We moved from one altar to the next, making our way around the circle, grinning immensely and excitedly pointing out strange details to each other. You could spend an hour here and still not catch every detail.

The Schizophrenic History of the Iglesia de San Luis de los Franceses

Built between 1699 and 1730, this Baroque marvel was the crowning achievement of Leonardo de Figueroa, an architect celebrated for his role in shaping Sevilla’s grandest religious spaces. 

The church was originally part of a Jesuit novitiate, meaning it was designed not only for worship but to serve as a spiritual training ground for novices. 

This complex was built on land donated by a noble family with French ties, hence the dedication to Saint Louis, the French King Louis IX.

In those early years, the church was a prime example of Jesuit opulence and influence. Every inch of the building seemed designed to overwhelm with splendor, drawing viewers into a theatrical experience. 

The main chapel, a circular space devoid of traditional seating, was meant to stand as a monument to Jesuit ideals, immersing novices and visitors alike in an atmosphere where spiritual grandeur took precedence over community worship. 

However, in 1767, the Spanish crown expelled the Jesuits. For a time, the building served as a Franciscan convent. 

As the 19th century rolled in, the property underwent secularization and was turned over to the state. The grand altarpieces designed to showcase Jesuit saints were stripped, and the space was adapted for pragmatic uses, including functioning as a factory. 

The building’s role shifted once again as it became a hospice for the city’s elderly and sick. For several decades, the church was a place of stark contrasts — its Baroque details and gilded interiors juxtaposed with the somber reality of its new short-term inhabitants. 

The 20th century saw further change. The once-sacred site became a stage for performances, with productions like Don Juan Tenorio taking advantage of the church’s dramatic acoustics and architecture to tell the tale of the infamous lothario. 

A lightning strike in the 1920s pierced the vault, destroying an oil painting — perhaps serving as a grim suggestion that God wasn’t happy with how the church was being used?

After decades of neglect, San Luis was finally restored in the late 20th century. This revitalization effort sought to reclaim the site’s former glory, reopening the doors of the church, domestic chapel and crypt to the public. 

Architectural Highlights of the Iglesia de San Luis de los Franceses 

The façade alone is a visual feast. Ornate Solomonic columns twist skyward, framing a riot of Baroque symbolism covering the pale pink building. Statues of saints and angels stand guard like sentinels, their expressions a mix of stern devotion and regal authority. Above the entrance, the coat of arms of Spain is crowned by three archangels.

The Surreal Spirituality of the Main Chapel

But it’s when you step inside that the full spectacle begins. The church was designed in a Greek cross layout, and from the moment you cross the threshold, your gaze is drawn upward to the magnificent dome. Light filters through the lantern high above, illuminating frescoes that swirl like divine visions. Painted by Lucas Valdés, these frescoes depict scenes of Christian virtues — obedience, chastity, humility — interspersed with symbols of Solomon’s Temple. (Side note: Did King Solomon really exist?)

The main chapel is something of an enigma. Circular and intimate, it has no pews. Jesuit novices would have stood in silent contemplation, absorbing the intricate carvings, gilded reliefs and soaring altarpieces that fill the space. This is Baroque at its most intense. 

At the center of the main altar is a painting of San Luis, the church’s namesake, attributed to the school of Zurbarán. Flanking this are paintings of the Immaculate Conception and the Virgin of Bethlehem, all framed by mirrors that multiply the radiance of the gold. (Learn more about the various depictions of the Virgin Mary.)

But what really caught our eye are the relics embedded within this luxurious setting. Encased in delicate reliquaries, you’ll find a skull, ribs, and fragments of bones belonging to Jesuit holy men like Saint Ignatius of Loyola and Saint Francis Xavier. Vials of blood, believed to belong to lesser-known saints, are encased in gold and glass. There’s also a piece of cloth from Saint Stanislaus Kostka’s robes to honor this Polish saint who died at the age of 18. 

Each side altar tells a different story through its artwork and relics. On one side are scenes celebrating Jesuit virtues (devotion, sacrifice, spiritual fortitude), while the other side showcases key moments from the lives of saints who exemplified those ideals. 

The black-and-white checkered floor calls to mind dualities — light and dark, good and evil, the sacred and the profane — echoing the spiritual journey of navigating moral choices central to Jesuit teachings. In a space filled with opulence, the simple geometry of the floor offers a grounding presence, representing the balance between the earthly and divine realms. 

This is a chapel designed not just to be seen but to be felt — a place where spiritual reverence mingles with a sense of the macabre. 

The Domestic Chapel

As you wind through the quiet corridors of the Iglesia de San Luis de los Franceses, following almost inconspicuous signs, you find yourself in another part of the complex. This secluded space, the Domestic Chapel, hidden within the old Jesuit novitiate, was designed for private worship by the novices. It’s a single-nave chapel, but, like the Main Chapel, don’t let its size deceive you — its beauty and detail are breathtaking.

The chapel is lavishly adorned, featuring stunning frescoes by Lucas Valdés and Domingo Martínez, and sculptures by the renowned Duque Cornejo. 

The richly ornamented altarpiece is a visual celebration of the Eucharist. At its center is the Virgin Mary, a gift from Saint Francis Borgia, flanked by statues of Saint Stanislaus Kostka and Saint Aloysius Gonzaga. Above the Virgin, a relief depicts Saint Stanislaus’ reception into the novitiate in Rome, surrounded by medallions illustrating the lives of Saint Francis Xavier and Saint Francis Borgia. Saints alive!

The Crypt

The crypt, once sealed off and hidden, has now been opened to the public. That being said, there’s not much to see here. The crypt of the Iglesia de San Luis de los Franceses is a subdued space — especially when contrasted to the crazily ornate rest of the church or something like the catacombs of Paris — primarily intended for meditation and remembrance. 

Over 300 bodies are buried in the crypt — though you’d never know that. There’s not a single marker. So who’s buried down there? Some members of the Jesuit order and other notable figures associated with the church, although specific records of who’s interred there are sparse. 

Haunting Tales of San Luis de los Franceses

One of the most unsettling tales of this church is that of Manuel Cantelar. In the 1990s, this troubled man is said to have staggered toward the church one fateful night, a knife clenched tightly in his trembling hands. Eyes glazed with despair (or madness), he pressed the blade against his chest and threw himself against the cold stone façade in a bizarre form of suicide. It’s said his spirit never left. 

Strange occurrences continue to plague the church. Workers involved in restoration projects have spoken of tools vanishing, only to have them reappear in baffling places. Even the bravest of them have confessed to hearing ghostly whispers and feeling a sudden chill as if unseen eyes were fixed on them. And then there are the dogs. They growl and snarl at empty spaces, their hackles raised, as if warning off an unseen presence.

Even now, the murmur of phantom voices and the chill of restless spirits might greet anyone daring enough to explore the forgotten corners of San Luis de los Franceses.

Visiting the Iglesia de San Luis de los Franceses

As we left the church of San Luis de los Franceses, we couldn’t help but feel a sense of awe at the beauty and history of this often-overlooked treasure — from the grand Main Chapel with its imposing dome and intricate altarpieces to the almost-as-impressive Domestic Chapel tucked away from the main church. 

While most visitors will make sure to see the Seville Cathedral, we found its beauty to only be skin deep: The façade is much more impressive than its interior. That’s why we were so happy to marvel in surprise at the unexpected tiny-by-comparison grandeur of San Luis. We owe our heartfelt thanks to our friends Jo and José for encouraging us to explore this hidden gem, a reminder that some of Seville’s most stunning spaces lie just beyond the well-trodden paths. –Wally

The deets

Hours
Monday: Closed
Tuesday to Sunday: 10 a.m. to 2 p.m. and 4 p.m. to 8 p.m. 
Summer hours (July 1 to August 31): 9 a.m. to 5 p.m. 
Note: Ticket sales end 15 minutes before closing time, and visitors are asked to leave 10 minutes prior to closing. 

Cost: €4, with discounts for students, seniors and local residents

Tour options: Guided tours are available as are audio guides in multiple languages. 

Iglesia de San Luis de los Franceses

Calle de San Luis, 37
41003 Sevilla
Spain 

 

Controversial Takes on the Garden of Eden and the Fall of Man

Shocking alternative theories of biblical interpretation of Eden, Eve, the forbidden fruit, the serpent and original sin.

The Garden of Eden is considered the quintessential paradise — an untouched, idyllic realm where rivers flowed, trees bore fruit in abundance, and harmony reigned. At its heart stood the Tree of Life and the Tree of Knowledge of Good and Evil, both laden with mystery and meaning. But was Eden a literal place, a symbolic lesson or something altogether different? Are you willing to take a bite of the Tree of Knowledge — and face the consequences?

RELATED: Did God Really Create the World in Seven Days?

Was Eden an Actual Garden?

The Hebrew word translated as “garden” (gan) doesn’t fully capture its significance. In fact, some scholars argue that Eden was more akin to a sanctuary or a royal park — a sacred space where divine and human realms intersected. 

For some, this shifts the narrative from a picturesque plot of land to a space designed for communion between humanity and God. If Eden is a sanctuary, it might suggest that this story is about something deeper — less about location, more about the intended relationship between humanity and the divine. Remember: God would hang out and take walks with Adam and Eve. 

RELATED: What Does God Look Like?

The Tree of Knowledge: To Be Godlike?

The Tree of Knowledge is central to this story — a tree that was off-limits yet irresistible. Putting this temptation right in the middle of the garden wasn’t the nicest thing God could have done. 

Scholars have long debated what the tree truly represents. Is it about moral discernment, free will or something darker? 

Ellen van Wolde, in Reframing Biblical Studies, argues that the Hebrew word for knowledge (da’at) implies more than just knowing good from evil. It’s about power, authority and wisdom traditionally reserved for the divine. The tree, then, may be less about moral choice and more about the dangers of encroaching on knowledge and power intended only for God.

East vs. West: Interpretations of the Serpent

The serpent slithers in as the story’s most cryptic figure. While popular culture casts the serpent as Satan himself, the original text never makes that connection. Instead, the serpent’s role is open to interpretation. 

James Barr, in The Garden of Eden and the Hope of Immortality, suggests that the serpent is a trickster figure, a symbol of chaos and subversion found in myths across cultures (think Loki, Hermes, the Joker and Deadpool). 

Gnostic traditions even flip the script entirely, portraying the serpent as a liberator who offers true knowledge, freeing humanity from an oppressive deity. 

In many Eastern cultures, snakes are revered as symbols of wisdom, fertility and even immortality. For example, in Hinduism and Buddhism, the serpent (naga) is seen as a powerful, protective force — often associated with deities and cosmic balance. In Chinese mythology, snakes are linked to longevity and good fortune, with the snake being one of the 12 zodiac animals, symbolizing deep intuition and transformation.

Contrast that with the Western tradition, where snakes have often been portrayed as malevolent creatures tied to deceit and danger. This demonization largely stems from the influence of the Bible, particularly the story of Eden. Over time, Christian theology increasingly equated the serpent with Satan himself — despite the original Genesis text never explicitly making that connection. The idea solidified through later interpretations and religious art, reinforcing the image of the serpent as a vessel of evil.

This stark difference in cultural symbolism reflects a deeper divide in worldview. In Eastern traditions, the snake’s ability to shed its skin is seen as a metaphor for renewal and spiritual growth. Meanwhile, in the West, this same attribute is often viewed with suspicion, implying deception and the capacity to mislead — qualities emphasized in the Eden narrative.

So, the serpent’s reputation as a trickster in the Garden of Eden could be interpreted through a dual lens: one that either condemns it as the catalyst of humanity’s fall or respects it as an agent of transformative knowledge. 

The Fruit: Apple, Fig or Something Else?

The forbidden fruit is widely portrayed as an apple, but the Bible is conspicuously silent on the specifics. Some scholars speculate that it could have been a fig, linking it to the fig leaves Adam and Eve later use to cover themselves (Genesis 3:7). 

Others suggest a pomegranate, a fruit rich in symbolism across ancient cultures, often associated with fertility and the underworld. 

Apples are originally native to Central Asia, specifically the area around modern-day Kazakhstan. They eventually spread to Europe, but they wouldn’t have been a common fruit in the ancient Near East. So how did apples become the go-to symbol for the forbidden fruit?

The answer lies in a combination of linguistic coincidence and artistic tradition. In the 4th century, when the Bible was translated into Latin, the word for evil, malum, closely resembled the word for apple, malus. This play on words may have led to the association between the apple and the forbidden fruit. Over time, Western art reinforced this image, depicting Eve handing Adam an apple in countless paintings and sculptures, cementing the fruit’s place in popular imagination.

Eden and Other Myths: A Remix of Ancient Stories?

The Garden of Eden narrative shares striking similarities with older myths from the ancient Near East, particularly the Sumerian tale of Dilmun, a paradise described as a place without sickness, death or  suffering. In this story, Dilmun is a garden blessed by the gods, where pure waters flow and all living creatures thrive in harmony. Much like Eden, Dilmun is portrayed as a utopia, symbolizing a world untouched by the corruption of mortality.

What’s fascinating is how these myths overlap and diverge. The Sumerian myth, which predates the biblical account by several centuries (the earliest versions of Dilmun date back to around 2100 BCE, as opposed to the Genesis story, which was written sometime much later, sometime around 580 BCE), emphasizes the idea of a divinely created paradise. Genesis, on the other hand, reinterprets this concept in a monotheistic framework. 

One key difference lies in the purpose of these narratives. While Dilmun is primarily a tale of divine blessing and the ideal state of life, Eden’s narrative centers on a moral test, the introduction of human free will and the consequences of overreaching divine boundaries. 

Another parallel is found in the Mesopotamian Epic of Gilgamesh, which contains a scene where the hero seeks a plant that grants immortality, only to lose it to a serpent. This echoes the Eden story, where a serpent plays a central role in the loss of paradise. The Epic of Gilgamesh, likely written around 1800 BCE, also predates Genesis and suggests that the themes of a lost paradise and a deceiving serpent were circulating in the cultural consciousness long before the Hebrew Bible was compiled.

The Fall of Man: Paradise Lost

We all know the basics: Adam, Eve, a serpent, a forbidden fruit and the catastrophe that supposedly cursed all of humanity. But what if this story isn’t just a cautionary tale of disobedience? Scholars have long debated whether the so-called “Fall” was a tragic mistake or a necessary event — perhaps even one destined from the start. Is this exile merely a punishment — or is it part of humanity’s necessary evolution? 

Traditionally, the Fall is framed as humanity’s catastrophic lapse — the moment Adam and Eve traded paradise for suffering, death and toil. But what if it was less about disobedience and more about the maturation of humanity? Elaine Pagels argues in The Gnostic Gospels that eating the fruit was a catalyst for growth. Rather than a “fall” from grace, the story can be seen as a necessary step toward knowledge and independence. The departure from Eden marks the beginning of human history, with all its ambiguities, tensions and possibilities. 

The garden may have been a place of bliss, but it was also a place of ignorance. Leaving Eden means entering the world of complexity — where knowledge, creativity and culture become possible. In this reading, the “Fall” is less a tragedy and more the first step toward becoming fully human.

In this light, the knowledge of good and evil isn’t simply a curse but the beginning of human moral consciousness — the first moment when humans took responsibility for their choices and lives.

Eve as the Scapegoat: Misogyny in the Making

It’s impossible to discuss the Fall without addressing Eve’s role. For centuries, she’s been painted as the original temptress, responsible for humanity’s descent into sin. But feminist scholars like Phyllis Trible in God and the Rhetoric of Sexuality argue that this reading is a distortion. Eve’s act is often presented as malicious and subversive, yet the text itself describes her as thoughtful and engaged in ethical reasoning. 

The vilification of Eve has led to centuries of misogynistic interpretations, turning her into a scapegoat for humanity’s flaws. A more nuanced reading might see Eve as curious, rational and willing to take risks — qualities that are both human and, in many ways, admirable.

Original Sin: A Later Invention

The concept of “original sin” — the idea that Adam and Eve’s disobedience condemned all future generations — largely comes from Saint Augustine’s interpretation, which heavily influenced Christian doctrine. But is this really what the Genesis authors intended? John Hick, in Evil and the God of Love, suggests that inherited guilt was an overlay imposed by later Christian theology. There’s no evidence that early Jewish interpretations saw the Fall as a hereditary curse, he argues. 

The original story, then, may have been more concerned with the inevitability of human frailty rather than branding all of humanity with perpetual guilt. The shift in interpretation has had profound consequences, shaping millennia of theology and human self-perception.

Exile From Eden

The tale of Eden and the Fall of Man is a story that has sunk its teeth into human imagination for millennia — a seemingly simple narrative of temptation and transgression that, upon closer inspection, reveals layers of meaning and controversy. 

From a sanctuary more akin to a divine throne room than a garden, to a serpent who might be more liberator than villain, and a bite that offered not just forbidden fruit but the bitter-sweet taste of knowledge and independence, this story challenges our notions of innocence, guilt and what it means to be human. Perhaps we never lost paradise after all. –Wally

How to Celebrate Samhain: Rituals, Traditions and the Magic of Halloween, the Witches’ New Year

This Wiccan holiday marks the thinning of the veil, when divination, honoring the dead and embracing the darkness come together.

The air is cool, almost biting, as you walk through a darkened forest. The leaves, once ablaze in fiery autumn colors, have now turned brown and brittle, carpeting the forest floor with a soft, crackling layer. The moon, full and heavy in the sky, bathes the landscape in a silver glow, casting long, eerie shadows among the trees. Somewhere in the distance, you hear the low hoot of an owl and the rustling of creatures unseen.

It’s spooky Samhain — the Wiccan festival that follows Mabon, marking the end of the harvest season and the beginning of winter. It’s a time when the veil between the living and the dead is at its thinnest, a liminal period when spirits walk among us and the mysteries of the afterlife feel closer than ever. For Wiccans, Samhain is the witches’ New Year, a night to honor ancestors, reflect on the cycle of life and death, and embrace the darkness that comes with the closing of the year.

Samhain (pronounced Sow-en) isn’t just a time of endings, but also of new beginnings — where the seeds of the future are planted in the fertile darkness. As the wheel of the year turns, Samhain invites you to look inward, to confront the shadows within and without, and to prepare for the quiet, introspective months ahead.

So whether you’re lighting candles to guide the spirits home, carving pumpkins to ward off malevolent forces, or simply sitting by a fire with a cup of mulled cider, this guide will walk you through the history, the rituals and the ways you can celebrate Samhain in a way that’s meaningful, magical and deeply connected to the turning of the seasons.

Samhain has profoundly influenced the history of Halloween. Many of the customs we associate with Halloween trace their origins back to the ancient rites of the Celtic holiday.

The Myth of Samhain

Long before Samhain became a part of Wiccan tradition, it was celebrated by the ancient Celts as the festival of the dead. According to legend, it was on Samhain night that the great hero, Cú Chulainn, faced his final battle. Wounded and weakened, he tied himself to a standing stone so he could die on his feet, sword in hand, defying death itself.

As Cú Chulainn’s life ebbed away, the Morrígan, the great Celtic goddess of war and fate, appeared before him in the form of a crow, her dark wings fluttering as she perched on his shoulder. It was said that the Morrígan would come to those who were destined to die, and her presence signaled the hero’s inevitable end. But even as his strength failed him, Cú Chulainn refused to fall, his spirit unbroken even in death.

Samhain, in this way, became a time to honor the dead and to remember the heroes who had passed on, their spirits crossing the thin veil to join the ancestors. 

It was also a night of divination, where the future could be glimpsed through the mists of the otherworld, and the Morrígan herself might appear to those brave enough to seek her out.

As the Celts gathered around their fires, they told stories of the old gods and heroes, lighting candles and making offerings to ensure that the spirits of their ancestors would find their way home. The fires burned bright through the night, keeping the darkness at bay and offering protection from the malevolent spirits that roamed the land.

Symbols and Correspondences of Samhain  

Samhain is rich with symbols that reflect the themes of death, rebirth and the thinning of the veil between worlds. From the glowing jack-o'-lantern to the sacred bonfire, these symbols are more than just decorations — they carry deep meaning, connecting us to the cycles of life, death and renewal.

Jack-o'-Lanterns: Guiding Spirits and Warding Off Evil  

The tradition of carving jack-o'-lanterns dates back to ancient Celtic practices of creating turnip lanterns to guide the spirits of the dead on Samhain night. 

The flickering light inside was meant to represent the souls of the departed, while the carved faces served to ward off malevolent spirits that might wander too close. 

As the custom crossed the Atlantic, pumpkins replaced turnips, and the jack-o’-lantern became a quintessential symbol of Halloween.

In your Samhain celebrations, consider carving a pumpkin with symbols that hold personal significance. Place it on your doorstep or windowsill as a beacon for the spirits of loved ones and as a protective charm against darker forces.

The Bonfire: A Beacon of Protection and Renewal  

Bonfires have long been a part of Samhain celebrations, serving as a powerful symbol of protection and purification. In ancient times, people would gather around these fires, tossing in offerings of food, herbs and other items to ensure a bountiful year to come. The bonfire’s light was believed to ward off evil spirits and guide the souls of the departed back to the otherworld.

If you’re able, gather around a fire on Samhain night — whether it’s a roaring outdoor bonfire or a simple candle lit indoors. Use this time to meditate on the cycles of life and death, and to release any fears or anxieties into the flames, allowing the fire’s transformative power to cleanse and renew your spirit.

Apples: The Fruit of the Otherworld

In Celtic mythology, apples were considered sacred, often associated with the otherworld and the land of the dead. It was believed that the fruit could grant access to the mysteries of the afterlife, and on Samhain, apples were used in divination rites to glimpse into the future.

To incorporate apples into your Samhain rituals, consider performing a simple divination by slicing an apple crosswise to reveal the hidden star within. Eat the apple mindfully, asking for insight or guidance, and let the seeds be a reminder of the potential for new beginnings even in the darkest times.

SkullS and Bones: Symbols of Mortality  

Skulls and bones are powerful symbols of Samhain, representing mortality and the thin line between the living and the dead. They remind us of the impermanence of life and the inevitability of death, urging us to honor those who have passed and to reflect on our own journeys.

Decorate your altar with small skulls or bones (real or symbolic) to connect with the energies of the season. These symbols can serve as a focal point for meditation, helping you to confront and accept the natural cycles of life and death.

A Samhain Ritual: Honoring the Dead and Welcoming the New Year

Samhain is a time for deep reflection, honoring those who have passed, and preparing for the new beginnings that lie ahead. This simple ritual is designed to help you connect with the energies of the season and the spirits of your ancestors.

What you’ll need

• A black candle (for protection and the dark half of the year)

• A white candle (for purification and the light to come)

• A photo or memento of a loved one who has passed

• A small bowl of water (symbolizing the veil between worlds)

• An offering (such as bread, wine or herbs)

• A journal and pen for reflection

1. Set the space.  

Begin by finding a quiet place where you won’t be disturbed. Cast a ritual circle if you want. 

Arrange your candles, photo or memento, and offering on a small table or altar. Light the black candle, focusing on the protection and guidance it brings as the dark half of the year begins. As you light the candle, say:  

“I light this flame to guide me through the darkness. May it protect me and illuminate the path ahead.”

2. Honor your ancestors. 

Hold the photo or memento of your loved one in your hands. Close your eyes and take a few deep breaths, visualizing the face or presence of this person. Speak to them as though they are with you, expressing gratitude for their influence in your life and asking for their guidance in the coming year. Place the photo or memento next to the black candle.

3. Reflect on the year. 

Take a moment to think about the past year — the lessons learned, the challenges faced and the growth achieved. Write down your reflections in your journal, allowing your thoughts to flow freely. This is also a time to acknowledge what you are ready to release as the year ends.

4. Light the white candle.  

Light the white candle, symbolizing the new light that will eventually return. As you do, say:  

“As the wheel turns, I welcome the light that will come after the darkness. I honor the past, embrace the present and look forward to the future.”

5. Make an offering. 

Pour a small amount of water into the bowl, symbolizing the thinning veil between the worlds. Take your offering and place it in front of the candles, saying:  

“I give thanks for the blessings of the past year and offer this gift in gratitude. May it nourish the spirits of those who have gone before and guide me through the year to come.”

6. Close the ritual.  

Spend a few moments in quiet reflection, feeling the connection between the past, present and future. When you’re ready, blow out the candles, starting with the black one and then the white. Thank the spirits and energies that have been present during your ritual. 

You may wish to leave the bowl of water and the offering on your altar overnight or dispose of them outside, returning them to the earth.

Other Ritual Activities for Samhain

Ancestral Altar 

Take a cue from the Day of the Dead: One of the most meaningful ways to celebrate Samhain is by creating an altar dedicated to your ancestors. This sacred space can be adorned with photos, mementos, candles, and offerings of food and drink. Light a candle for each ancestor you wish to honor, and spend time in quiet reflection, speaking to them as though they are present.

As you sit before the altar, say:

“On this night, as the veil grows thin, I honor the spirits of those who have come before me. I give thanks for their wisdom, their love, and their guidance. May they find peace and may their light continue to guide me.”

Silent Supper

A silent supper, or dumb supper, is a traditional Samhain ritual where a meal is prepared and eaten in complete silence to honor the dead. The table is set with an extra place for the spirits of loved ones who have passed, inviting them to join in the feast. The silence is maintained to show respect and to create a space for communication with the otherworld.

Prepare a meal with seasonal ingredients, such as root vegetables, apples and hearty grains. As you eat, reflect on the lives of those who have gone before you, and listen for any messages or insights that may come to you in the stillness.

Scrying and Divination  

Samhain is an ideal time for scrying, a form of divination that involves gazing into a reflective surface to receive visions or insights. Traditionally, a black mirror, a bowl of water, tarot cards or a crystal ball might be used for this purpose.

Apple Peel Divination: A Simple Samhain Rite

Apples, symbols of magic and the otherworld, lend themselves perfectly to a straightforward divination practice during Samhain. 

To begin, find a quiet space and hold a fresh apple while focusing on a question or intention. 

Slowly peel the apple in one continuous strip, keeping your mind centered on the guidance you seek. 

Once peeled, toss the strip over your left shoulder and observe the shape it forms on the ground. The peel may reveal a letter, symbol or shape that offers insight into your question. 

Finally, record your impressions and consider how this message might guide you in the coming months. The apple peel divination is a traditional, easy and meaningful way to connect with the energies of Samhain.

Feasting: A Harvest of Flavor

As the final harvest festival, Samhain is the perfect time to celebrate with a feast that honors the season’s bounty and the transition into the darker half of the year. Traditional Samhain foods are rich and hearty, and often infused with the warmth of spices to chase away the chill of autumn nights.

Root vegetables like potatoes, carrots and turnips take center stage, often roasted or simmered into comforting stews. Apples, ever the symbol of wisdom and connection to the otherworld, are used in everything from pies to ciders, adding a sweet, crisp note to the table. You might also enjoy hearty breads, pumpkin dishes, and anything spiced with cinnamon, cloves or nutmeg — all of which evoke the essence of the season.

For a truly magical touch, consider baking a special Samhain loaf or cake, embedding a small charm or token inside. As you share the cake with loved ones, the person who finds the charm may receive a special blessing or message for the year ahead. This tradition not only adds an element of fun to your feast but also connects you to the ancient customs of divination and celebration that have long been part of Samhain.

Whether you’re cooking for a crowd or enjoying a quiet meal alone, let your Samhain feast be a time of reflection and gratitude, a celebration of both the harvest and the mysteries of the season.

Samhain Crafts and Activities

Samhain offers a wealth of creative opportunities to engage with the season’s energy and themes. Here are some activities that you can incorporate into your celebrations:

Creating Spirit Dolls

Crafting spirit dolls is a traditional Samhain activity that allows you to create a tangible representation of your ancestors or spirit guides. Using natural materials like twigs, corn husks or fabric scraps, fashion a small doll that symbolizes a loved one or spiritual protector. 

As you create your doll, focus on the qualities or energies you wish to honor or invite into your life. These spirit dolls can be placed on your altar or kept in a special place in your home as a way to stay connected to those who have passed or to receive guidance from the spirit world.

Bone Rattles

A bone rattle is a powerful tool for connecting with the spirit realm, and making your own can be a meaningful Samhain project. Collect small bones from ethically sourced materials (or substitute with sticks or shells) and attach them to a sturdy handle, such as a piece of driftwood or a carved stick. As you shake the rattle, the sound is said to call forth spirits and ancestors, making it a potent addition to your Samhain rituals or meditations.

Ancestor Story Stones

Gather a set of small, smooth stones and paint or draw symbols on them that represent stories, traits or memories of your ancestors. These could include simple images like a tree, a house or an object they were known for. 

Use these stones in a storytelling ritual, where you draw a stone at random and share or reflect on the story or memory it represents. This activity not only honors your ancestors but also keeps their stories alive and connected to your present life.

Herbal Sachets for Protection

As the veil between worlds thins, creating herbal sachets for protection is a practical and magical way to safeguard your space. Combine herbs traditionally associated with protection, such as rosemary, sage and juniper, and place them in small fabric pouches. You can hang these sachets by your door, carry them with you, or place them under your pillow to ward off negative energies and invite peace into your home.

These activities are not only fun and creative but also deeply connected to the themes of Samhain, offering ways to honor the past, protect the present and prepare for the future.

Samhain: Embracing the Shadows and Honoring the Past

As the wheel of the year turns, Samhain invites us to pause, reflect and connect with the mysteries of life, death and the unseen. It’s a time to honor our ancestors, embrace the darker aspects of our existence, and prepare for the introspective journey through the winter months.

Whether through ritual, feasting or creative activities, Samhain offers a space to engage with the deeper cycles of life and to find meaning in both the endings and the beginnings that this season represents. As you light your candles, prepare your offerings and set your intentions, remember that Samhain isn’t just about looking back at what has passed, but also about planting the seeds of what is yet to come.

May your Samhain be filled with the magic of the season, the warmth of remembered love and the quiet anticipation of the new year ahead. –Wally

Visiting Seville Cathedral

Discover the world’s largest Gothic cathedral, a UNESCO World Heritage Site with the iconic La Giralda bell tower and Columbus’ tomb. 

The Seville Cathedral dominates the skyline — not surprisingly, since it's the largest Gothic cathedral in the world.

As you walk through the narrow, winding streets of Seville, you’ll inevitably find yourself in the Plaza del Triunfo. There, rising as a colossal monument to faith and human ingenuity, stands La Catedral de Sevilla (Seville Cathedral). It’s hard not to feel a sense of awe as you take in the sight before you — this is the largest Gothic cathedral in the world, and it commands your attention.

Gothic architecture was all about height and light, creating spaces that drew the eyes — and the spirit — upward. The architects of Seville Cathedral embraced this philosophy wholeheartedly. They designed a building that seemed to defy gravity, with soaring arches, intricate ribbed vaults and walls of stone that appear as delicate as lace.

“The towering high altar of Seville Cathedral seems to glow with an otherworldly light.

It’s the largest and one of the most ornate Catholic altars in the world — a gilded masterpiece that took nearly a century to complete. ”

With its intricate ornamentation, the cathedral is gorgeous from any angle.

Visiting Seville Cathedral: First Impressions

The façade of Seville Cathedral is an intricate pattern of religious figures and mythical beasts, all carved in stone with remarkable detail. Saints and apostles line the entrances, each captured in dynamic poses, holding symbols of their faith and martyrdom. Figures like Saint Peter with his keys to Heaven and Saint James with his staff stand as silent guardians of the cathedral. Above the portals, scenes from the life of Christ and the Virgin Mary are depicted in elaborate reliefs.

Statues of holy personages ring the cathedral's doorways.

Interspersed among these sacred figures are gargoyles — grotesque stone creatures jutting out from the walls. Their twisted forms, often a blend of animals with something monstrous, serve both symbolic and functional roles. They channel rainwater away from the building, but they also act as protectors, believed to ward off evil spirits from entering the holy site. 

La Giralda rises 341 feet (104 meters) into the air.

The Symbolism of La Giralda: A Story in Stone

Look closely at the base of the tower, where the original stonework from the Almohad Muslim empire remains intact. The arches, adorned with delicate arabesques, are a reminder of the tower’s Islamic origins. They speak of a time when Seville was a center of learning and culture in the Islamic world, a place where scholars and artisans thrived.

Part Islamic, part Renaissance, La Giralda is a good symbol of the merging of East and West that's such a part of southern Spain.

Now, let your gaze travel upward, to the belfry that was added during the Renaissance. The clean lines, classical proportions and elegant simplicity of the design are a stark contrast to the intricate patterns below. This was a statement, a declaration of the Christian faith’s ascendancy. 

Driving home that point is the Latin verse inscribed around the belfry: “TURRIS FORTISSIMA NOMEN DNI PROVERB. 18,” translating to “The name of the Lord is a strong tower,” from Proverbs 18:10. 

High above the city, El Giraldillo stands poised on La Giralda, her massive bronze figure more than just a weather vane — she’s a symbol of faith and victory. Cloaked in a flowing tunic, she holds a mighty shield in one hand and a palm branch in the other. Her figure twists gracefully, moved by the winds, but her expression and stance evoke unshakable faith. Like a sentinel or an ancient goddess, she watches over her city.

El Giraldillo: the most famous weathervane in the world?

La Giralda’s Lesser-Known Secrets

La Giralda also holds secrets that many visitors aren’t familiar with. For instance, did you know that the tower was designed with ramps instead of stairs? This allowed the muezzin, who called the faithful to prayer, to ride a horse to the top. As you imagine this, you can almost hear the rhythmic clatter of hooves echoing within the tower’s walls.

Another lesser-known fact is that during the cathedral’s construction, La Giralda served as a lookout tower. From its heights, guards could survey the city and the surrounding countryside, a strategic vantage point that was vital during times of conflict. 

Duke got this shot from the nearby General Archive of the Indies. You can see the copy of El Giraldillo that topped the tower while the genuine article got restored.

The Entrance of Seville Cathedral 

In front of the cathedral, a statue of Ferdinand III of Castile proudly holds a globe and a sword, commemorating his pivotal role in the 13th century Christian conquest of Seville. Ferdinand’s victory led to the transformation of the city from an Islamic stronghold into a key Christian center, with the mosque being converted into the cathedral we see today.

But Ferdinand isn’t the only figure watching over the entrance. Nearby stands a replica of El Giraldillo. The bronze reproduction topped the tower during a restoration and was moved here when the original figure returned to its rightful place atop La Giralda.

As you step inside the cathedral, your eyes are immediately drawn upward. Massive stone columns rise like ancient trees in a forest, supporting the ceiling. These columns branch out into ribbed vaults, forming a web-like pattern that not only adds to the structure’s stability but also creates an otherworldly sense of space.

The high altar of Seville Cathedral, a breathtaking display of intricate gold niches, showcases scenes from the life of Christ.

The High Altar: A Golden Marvel

The towering structure of the high altar of Seville Cathedral seems to glow with an otherworldly light. It’s the largest and one of the most ornate Catholic altars in the world — a gilded masterpiece that took nearly a century to complete. 

Crafted by Flemish sculptor Pierre Dancart in the late 15th century, the altar rises over 65 feet high and 42 feet wide, composed of 45 intricately carved panels — it feels like an epic storybook springing to life, scene by scene, pulling you into its divine narrative. Imagine it as a tapestry of tales, each vignette acting as a page from the most sacred stories in Christian tradition.

The altar's reliefs are intricately carved wood covered in gold leaf.

At the base, you can see the Nativity, with Mary cradling the infant Jesus, the shepherds humbly offering their reverence, and the Magi presenting their gifts.

Move higher, and the story unfolds into more dramatic, intense episodes. In one vignette, you can see the Crucifixion, then comes the Resurrection, bursting forth from the altar’s center, where Christ, victorious over death, stands surrounded by heavenly figures. (Related: When did Jesus Have to Become God?)

The higher tiers focus on the Ascension of Mary, where she rises amid a host of saints and angels, emphasizing her purity and elevation as the Queen of Heaven.

Each story is framed with ornate Gothic tracery, like delicate borders separating the sacred moments yet tying them all together into one continuous narrative, acting like pages of a gilded gospel.

Columbus' tomb

The Tomb of Christopher Columbus: A Monument Shrouded in Mystery

Inside Seville Cathedral, amid its towering arches and breathtaking art, you’ll find something that has captured the imaginations of visitors for centuries: the tomb of Christopher Columbus, known in Spain as Cristóbal Colón. It’s a monument wrapped in mystery and steeped in controversy, honoring one of history’s most famous and contentious figures.

The ornate tomb seems to be held aloft by four statues, each representing one of the kingdoms of Spain: Castile, León, Aragon and Navarre. These larger-than-life figures, clad in armor and bearing the weight of the tomb on their shoulders, carry not just the remains of a man, but the legacy of an era that forever changed the world. Their expressions are solemn, their posture resolute, as if they understand the weight — both literal and symbolic — that they bear.

Is Seville Cathedral really the site of Columbus' corpse?

The Journey of Columbus’ Remains: A Tale of Many Cities

Here’s where the story takes a fascinating turn: Columbus’ remains have journeyed across the world almost as much as he did during his lifetime. After his death in 1506, Columbus was initially buried in Valladolid, Spain, the city where he died. Yet this was only the beginning of his posthumous odyssey.

A few years later, his remains were moved to Seville, then across the Atlantic to the island of Hispaniola (modern-day Dominican Republic) in the early 16th century, as Columbus had expressed a desire to be buried in the so-called New World he helped to “discover.”

But the story doesn’t end there. Before the French took control of Hispaniola in 1795, Columbus’ remains were supposedly transferred to Havana, Cuba, to prevent them from falling into French hands.

Then, in 1898, after Spain lost control of Cuba following the Spanish-American War, the explorer’s remains were sent back to Seville, where they were interred in the cathedral. 

The ornate tomb that visitors see today was designed by the Spanish sculptor Arturo Mélida. Made from a mix of materials, including bronze and marble, the tomb features intricate carvings that tell the story of Columbus’ voyages. 

The underside of Columbus' tomb

The Controversy: Are These Columbus’ True Remains?

But here’s the twist: Are the remains in Seville Cathedral really those of Christopher Columbus? This question has sparked debate among historians, scientists and enthusiasts for years. The Dominican Republic claims that it still holds the true remains of Columbus in the Columbus Lighthouse in Santo Domingo, and that the bones moved to Havana and later to Seville were actually those of his son, Diego.

In 2003, DNA testing was conducted on the remains in Seville, comparing them to the known DNA of Columbus’ brother, also named Diego, who’s buried in the city. The results were inconclusive but suggested a close familial match. While this supports the claim that Seville holds Columbus’ remains, the mystery remains unsolved — especially since the Dominican Republic has refused to allow the testing of the remains in Santo Domingo.

The Ghost of Columbus and His Troubled Legacy

Some say that Columbus’ spirit roams the cathedral, restless due to the uncertainty surrounding his remains. And it’s said that if you listen closely at night, you might hear the faint sound of waves lapping against a ship’s hull — Columbus’ spirit, still seeking the shores of a New World. It’s just one of the many legends of Seville Cathedral. 

While many Spaniards still recognize and honor Columbus for his role in history — particularly for his voyages that led to the European colonization of the Americas — there’s also a growing awareness and acknowledgment of the darker aspects of his legacy, recognizing the consequences of his expeditions, including the forced labor and diseases that devastated indigenous populations.

A few kings of Spain are buried in the Royal Chapel of Seville Cathedral.

The Capilla Real (Royal Chapel): Resting Place of Spanish Royalty

In most Gothic cathedrals, the eastern end is typically home to an apse and an ambulatory, designed to guide the flow of worshippers and pilgrims. But in Seville Cathedral, the eastern end holds something quite different and historically significant: the Capilla Real, or Royal Chapel. 

The Capilla Real

This impressive, domed structure houses the tombs of Spanish royalty. Dominating the chapel is the ornate burial site of King Ferdinand III, known as Ferdinand the Saint, whom we met out front — the monarch who played a critical role in the Reconquista by reclaiming Seville from Muslim rule in 1248. His body, said to be miraculously preserved, lies in a silver casket beneath the altar.

The chapel also contains the remains of Alfonso X, his son, a king remembered for his patronage of the arts and legal reforms, leading to his nickname Alfonso the Wise. 

Then there’s the tomb of Pedro I, often called Pedro the Cruel (or Pedro the Just by his supporters). Known for his ruthless methods of maintaining power, Pedro I rebuilt much of the nearby Real Alcázar of Seville. 

The treasury includes the Crown of the Virgin of the Kings, made in 1904.

The Treasury: Relics and Sacred Artifacts

Beyond the paintings and sculptures, Seville Cathedral houses a vast treasury filled with relics and sacred artifacts. Among the most notable is the Custodia de Arfe, a massive silver monstrance created by Enrique de Arfe in the early 16th century. Standing over 12 feet tall, this masterpiece of metalwork is used during the annual Corpus Christi procession, where it’s paraded through the streets of Seville.

The treasury also contains an array of other priceless items, from jewel-encrusted chalices to intricately carved crosses. 

The Vision of Saint Anthony of Padua by Bartolomé Esteban Murillo, 1656. At one point, the saint had been cut out of the painting and smuggled to the U.S.!

Murillo’s Masterpieces: Capturing Divine Grace

Seville Cathedral is home to many works of art, but among the most revered are the paintings of Bartolomé Esteban Murillo, one of Spain’s greatest Baroque artists. Murillo’s work is known for its luminous quality, capturing the divine grace of his subjects with an almost ethereal softness. 

In The Vision of Saint Anthony of Padua, the saint gazes upwards, his expression one of pure rapture, as the Christ Child appears before him in a radiant burst of light. Here’s a crazy story: Saint Anthony was cut out of the painting in 1874 and smuggled to the United States, where an immigrant sold it to a New York gallery owner. Thankfully, the man made sure it was returned to the cathedral.

Other works by Murillo in the cathedral include The Immaculate Conception, Saint Isidore of Seville and Saint Leander of Seville. 

Saints Justa and Rufina by Francisco de Goya, 1817. The women are the patron saints of Seville.

Zurbarán and Goya: Masters of Light and Shadow

The cathedral’s collection also includes paintings by Francisco de Zurbarán and Francisco de Goya, two other giants of Spanish art. Zurbarán’s work is known for its dramatic use of light and shadow, creating a sense of intense spirituality.

Goya, on the other hand, brings a more psychological depth to his works. His Santa Justa and Santa Rufina, depicting the two patron saints of Seville, is a study in contrasts — between light and shadow, and faith and suffering. The saints’ expressions are both serene and sorrowful, capturing the complex emotions of their martyrdom. 

The Patio de los Naranjos was part of the original mosque that stood on this site.

The Patio de los Naranjos

Tucked away within Seville Cathedral lies the Patio de los Naranjos, a courtyard steeped in history and shaded by fragrant orange trees. This serene space is one of the few surviving remnants from the original Almohad mosque that once stood on this site. Built in the late 12th century, the patio was initially used by Muslim worshippers for ablutions, a ritual washing before prayer. 

The patio’s arched entranceways and elegant fountains have been preserved, though the orange trees themselves were likely added after the Christian Reconquest. 

Seville Cathedral was built on the site of a 12th century Almohad mosque, with some elements retained.

The courtyard’s irrigation system is a holdover from the mosque’s original design. Channels carved into the stone floor direct water to the trees and fountain, showcasing the advanced engineering techniques of the period. 

Beyond its architectural significance, the Patio de los Naranjos has also served as a gathering place over the years — first for religious purposes, and later as a civic space where citizens met, traded goods and exchanged news. 

La Giralda was undergoing repairs when we visited.

Restoration and Preservation: Protecting a Cultural Treasure

The largest Gothic cathedral in the world: With such a significant title comes great responsibility. Over the years, Seville Cathedral has undergone numerous restoration and preservation efforts aimed at protecting its delicate structures and priceless artworks from the ravages of time. These projects are often painstakingly complex, involving skilled artisans and conservators who work to maintain the integrity of the cathedral’s original design while using modern techniques to ensure its longevity.

One of the most significant recent restoration projects focused on La Giralda. Over centuries, exposure to the elements had taken its toll on the tower’s intricate stonework, leading to erosion and structural weakening. The restoration, completed in the early 2000s, involved carefully cleaning and repairing the stone, reinforcing weakened areas and restoring the tower’s original splendor. Today, La Giralda stands tall, a beacon for all of Seville — and, as mentioned, its temporary replacement can be seen in the entrance courtyard. 

Inside the cathedral, restoration work is ongoing as well. The high altar, with its intricate gilded panels, has been the focus of several preservation efforts aimed at protecting it from humidity and pollution. 

Similarly, the cathedral’s numerous chapels, paintings and sculptures are regularly monitored and conserved to ensure they remain as vibrant and inspiring as they were when first created.

The Puerta del Perdón (Door of Forgiveness) gets its name from the tradition of granting absolution to debtors and sinners who entered through it.

A Major Tourist Attraction: Drawing the World to Seville

Seville Cathedral is one of the city’s top tourist attractions, drawing millions of visitors each year who come to explore its architectural wonders, artistic treasures and historical significance. The cathedral’s central location makes it an essential stop on any tour of Seville.

Guided tours, often led by knowledgeable local historians, offer visitors a chance to delve deeper into the history of Seville Cathedral and its many hidden stories. 

In addition to its historical and religious significance, the cathedral offers one of the best views in Seville. Visitors can climb to the top of the Giralda tower, following the same winding ramps that were once used by horseback riders to ascend to the top. 

From there, the panoramic view of Seville is breathtaking, with the city’s rooftops, narrow streets and distant hills stretching out as far as the eye can see. It’s a view that not only showcases the beauty of Seville but also puts the cathedral’s dominance over the cityscape into perspective.

The cathedral interior doesn't instill that immediate awe that so many others do — until you look up.

Is the Seville Cathedral Worth Visiting?

The cathedral’s interior is vast, covering an area of about 124,000 square feet (over 11,500 square meters). However, unlike many other large cathedrals where the central nave and the main altar dominate the space, Seville Cathedral has a somewhat fragmented layout that feels sprawling and compartmentalized. It just doesn’t inspire the immediate awe that other Spanish churches do, like the Iglesia de los Santos Mártires and Iglesia de Santiago Apóstol in Málaga. Maybe I’m just not a huge fan of Gothic interiors — I felt similarly underwhelmed at Notre-Dame in Paris. 

Numerous chapels, side altars and smaller spaces break up the vast interior. One reason for this disjointed feel is the fact that the cathedral was constructed over more than a century, with different architects and styles influencing its design. The structure incorporates elements from its previous incarnation as a mosque, Gothic architecture, Renaissance additions and even Baroque influences in later restorations. This mix of styles and the extended timeline of construction contributed to the compartmentalized nature of the interior.

If you have extra time during your stay in Seville, the cathedral is certainly worth a visit — if only to appreciate its historical significance, the impressive Giralda and its role in the city’s rich cultural tapestry. However, if your schedule is tight, you shouldn’t feel bad about prioritizing other adventures in Seville. 

Mary holding a young Jesus

Saint Rufina and Saint Fulgentius

A Center of Faith: Continuing Religious Significance

Despite its status as a major tourist attraction, Seville Cathedral remains first and foremost a place of worship. Every day, locals and pilgrims alike come to the cathedral to attend Mass, light candles and seek spiritual solace in its sacred spaces. 

For many Sevillanos, the cathedral is a symbol of their identity, a place where personal and communal faith is expressed and celebrated. Its bells toll for the city’s most significant moments, marking everything from joyous occasions like weddings and christenings to solemn events like funerals. In every way, the cathedral is woven into the fabric of daily life in Seville.

As happens in Spain, some of the chapels are caged off, so you have to admire the small surprises throughout the space, like this pillar.

Visiting Seville Cathedral

Hours: 

Monday: 11 a.m. to 3:30 p.m.
Tuesday to Saturday: 11 a.m. to 5 p.m.
Sunday: 2:30 p.m. to 6 p.m.

Admission: Generally €9 for adults, with discounts available for students and seniors. 
Children under 14 can enter for free. 
Check the official website for any changes or special events that may affect hours. 

Buying tickets: We found that tickets had sold out days in advance. It’s highly recommended to buy tickets online as early as possible. Tickets can also be bought at the cathedral box office if they’re still available. 

Free entry: You can explore the cathedral without a ticket in the morning, before one of their mass services, typically held at 8 and 10 a.m. Keep in mind they’ll kick you out about 15 minutes before the service starts. We do wish we had taken a proper tour — we would have come away with more of an appreciation of this historic site. 

Grab a bite at one of the many cafés along Calle Mateos Gago.

Exploring the Area: A Walk Through the Heart of Seville

Chances are you’ll find yourself walking past the Seville Cathedral numerous times on any given visit. 

It’s in the Plaza del Triunfo, a beautiful square that forms the heart of the city’s historic district. Nearby is the Real Alcázar, a stunning palace complex that’s not to be missed, as well as the General Archive of the Indies, a treasure trove of documents that chronicle Spain’s colonial empire. 

The plaza and the narrow streets that fan out from it are lined with charming shops, boutiques and eateries (including a Starbucks we found ourselves stopping at most days). 

Fuente Farola, or Lamp Post Fountain

Alongside the cathedral is the Fuente Farola, a fountain topped by an enormous, ornate lamp post. Beyond this, you’ll find Calle Mateos Gago, a lively thoroughfare teeming with outdoor cafés and tapas bars. This street is a local favorite, especially in the evenings, when the tables are filled with people enjoying a meal and a drink while watching the world go by. There’s also a spot where you can indulge in the delectable Portuguese tarts known as pasteis de nata, a sweet treat that Duke instantly became addicted to.

Grab one and explore the Barrio Santa Cruz, the adjoining historic Jewish quarter. This maze of narrow streets, whitewashed houses and hidden courtyards is one of Seville’s most picturesque neighborhoods. 

Visiting Seville Cathedral isn’t just about seeing the largest Gothic cathedral in the world — it’s about immersing yourself in the vibrant life of Seville. The cathedral is at the heart of a district that’s rich with history, culture and the everyday pleasures of Andalusian life. –Wally

Catedral de Sevilla

Avenida de la Constitución, s/n
Casco Antiguo
41004 Sevilla
Spain

 

Angels, Demons, Leviathan and Other Monsters in the Bible

Our glossary of New and Old Testament creatures from God’s Monsters by Esther Hamori reveals some shocking surprises. Did angels actually have wings? How are cherubs described? You won’t believe the answers!

Those who take the Bible literally must believe in monsters — the Old Testament especially is filled with them. And in almost every case, they’re working for God.

“The biblical world is full of monsters,” writes Esther J. Hamori in her 2023 book, God’s Monsters: Vengeful Spirits, Deadly Angels, Hybrid Creatures and Divine Hitmen of the Bible. “Uncanny creatures lurk in every direction, from the hybrid monsters surrounding God in heaven to the stunning array of peculiar beings touching down on earth, and from giants in the land of milk and honey to Leviathan swimming beneath the seas. Most have been tamed by time and tradition.”

When you dig into the stories of the Old Testament, a horrifying revelation takes place. This God isn’t a loving god; in fact, he’s a major dick. Time after time, God unleashes his monsters to slaughter humans — and even his Chosen People aren’t safe from his wrath.

“Nowhere in the Bible are angels said to have wings.”

“God is surrounded by bizarre, monstrous creatures, and they commit remarkably violent acts on his command,” Hamori says.

Disclaimer: The findings put forth in this post are those of Hamori, not me. Please don’t kill the messenger. 

New and Old Testament Monsters Guide

Abaddon

What its name means: A word for the abyss or place of destruction (essentially Hell)

What it looks like: He’s not described, though he’s called the Angel of the Abyss.

What it does: He’s the one who brings forth horrific monsters with iron-like locust bodies, human faces, women’s hair, lion’s teeth and scorpion tails during the Apocalypse (Revelation 9:1-11).

angel

“Among the many monstrous creatures in the biblical heavens, angels are the most like us,” Hamori writes. “They’re the most human of monsters, not just in their sometimes-anthropomorphic appearance, but in their characters. They’re the best of it all and the worst, the most benevolent and the most brutal.”

What its name means: From the Greek word for messenger.

What it looks like: Most of the time, angels are described as looking like humans. And keep in mind, Hamori says, that they’re not White; they’d look like the people of the region — that is, Middle Eastern.

One aspect that’s never mentioned? Nowhere in the Bible are angels said to have wings.

They’re shapeshifters, taking other forms now and then. In Daniel 10:5-8, an angel is described as having a body like a gemstone, arms and legs like burnished bronze, a face like lightning and eyes like flaming torches. And the angel who led the Israelites through the desert appeared as a pillar of smoke during the day and a pillar of fire at night.

What it does: Most of the time, angels scare people, even when they come in peace. They tell Mary she’s going to give birth to God’s son, save Hagar and her son, Ishmael, and guard the Israelites during the Exodus. 

But they’re not always so benign. They’re also God’s warriors. One angel slaughters 185,000 Assyrians while they sleep. When Herod Agrippa is greeted like a god by the people, an angel strikes him down. He’s eaten by worms and then dies. “Not the other way around,” Hamori points out (Acts 12: 21-23).

And then there are the angels from the book of Revelation. At the end of the world, they’ll be throwing people into the fires of Hell for eternal punishment, and they’ll unleash hail and fire mixed with blood, throw a fiery mountain into the sea, poison the Earth’s freshwater, darken the sun, moon and stars, and unleash hybrid locust monsters.

See also: The Destroying Angel, the Destroyer

Azazel

What its name means: His name basically means The Goat That Departs.

What it looks like: Not sure

What it does: A goat (i.e., scapegoat) is designated “for Azazel” and carries off the burden of the people’s sins (Leviticus 16:8-10). (Sounds a bit like Jesus, doesn’t it?)

cherub / cherubim (plural)

“Like so many biblical monsters, the cherubim have been tamed over the centuries,” Hamori writes. “Their case is especially severe: They’ve been literally infantilized. Cherubim are imagined now as happy, fat angel babies. To the writers of the Bible, this image would be unrecognizable. They knew cherubim as something far more beastly, and far less friendly.”

What its name means: The Hebrew word is related to an Akkadian term for a type of hybrid monster.

What it looks like: This is where it gets confusing. They’re never clearly described in the Bible, though it’s thought they could be related to other guardian hybrids, like the lamassu of Assyria: winged lions or bulls with human heads.

But then there are the cherubim the prophet Ezekiel saw in a vision: “Their bodies appear humanoid, but they have four wings, straight legs with the hooves of a calf, and under their wings, human hands. Each cherub has four faces: those of a human being, a lion, an ox and an eagle,” Hamori writes. “But when he sees them again later, the four faces are those of a cherub, a human being, a lion and an eagle.”

So what exactly is the face of a cherub? Something indescribable? Or the four faces originally seen? If that sounds too bizarre to even consider, things get even more psychedelic: Their bodies sparkle like bronze, entirely covered with eyes and morphing to become a living chariot to carry God. 

And then they show up in the book of Revelations, which is one batshit crazy hallucination after another. The cherubim here still have four faces (though this time they’re of a lion, calf, human and eagle), and they’re still covered with eyes. But now they have six wings as well as hands, which they use to hold harps and golden bowls “full of the wrath of God” (Revelation 5:8-9; 15:7). 

What it does: They’re God’s bouncers, bodyguards and getaway drivers, Hamori tells us. God stationed cherubim at the gates of Eden to prevent Adam and Eve from reentering paradise. Statues of cherubim are also put to work guarding the Ark of the Covenant, where God resides on earth. (They seem a bit superfluous, since the ark, stolen by the Philistines, destroyed a statue of Dagon, one of the gods of the Old Testament, all by itself.)

As a chariot in Ezekiel’s vision, the cherubim flap their wings, which make a deafening noise. They’re fond of singing hymns and praising God. They also hand over the coals God uses to burn down Jerusalem. 

demon

In the Old Testament, demons are called upon to do some of God’s dirty work — though they’re not nearly as bloodthirsty as angels. “By the New Testament period, demons are definitively associated with Satan and are fully excised from the divine entourage,” Hamori writes. “God has banished his demons.”

What its name means: From Greek, describing an evil or unclean spirit

What it looks like: As vivid as later depictions of demons as hybrid horrors are, they’re glossed over in the Bible.

What it does: “If angels are the most like us, demons are the least,” Hamori writes. “They exist to cause harm. In the Hebrew Bible, they often take the form of plague, pestilence and disease. In the Gospels, an embarrassment of demons causes all manner of illness and disability.”

The Destroyer

What its name means: From a Hebrew word meaning “the Destroyer”

What it looks like: No description in the Bible

What it does: The Destroyer is the angel that murders all of the unprotected firstborn children in Egypt on God’s behalf during the 10th plague.

The Destroying Angel

What its name means: Pretty self-evident

What it looks like: A giant filling the sky, with a massive sword drawn

What it does: Don’t confuse this guy with the Destroyer, though they’re both capable of mass murder. 

giant

What its name means: Giant has an obvious translation, but the ancient Israelites used the name of one group of rivals, the Rephaim, as a generic term for giants.

What it looks like:  The bed of King Og, ruler of the Rephaim, gives us a clue as to their size: It’s 13.5 feet long and 6 feet wide. And the infamous Philistine warrior Goliath came in at over 9.5 feet tall.

What it does: They live in Canaan, a place where the people have been monsterized, turned into supersized cannibals. And so, in turn, they’re described as dehumanized foreigners (never mind that they were actually the indigenous inhabitants) that are “giants to be slain, food to be eaten, and animals to be killed,” Hamori writes.

Leviathan

What its name means: Coming from a Hebrew word, the name means something like the Twisted or Coiled One.

What it looks like: The primordial sea monster’s form is somewhat left to the imagination, though we get this description in Job:

His sneezes flash forth light; his eyes are like the eyelids of the dawn. 
Out of his mouth go flaming torches; sparks of fire escape! 
Out of his nostrils comes smoke, like a basket with bulrushes ablaze.
His breath could kindle coals; flames come out of his mouth. 
In his neck lodges strength; terror dances before him. 
The folds of his flesh cleave together, hard-cast and immovable.
His chest is hard as a rock, hard as the bottom grinding stone.
When he rises up, gods fear! at the crashing, they are beside themselves. (Job 41:18-25)

The beast evolves dramatically in the book of Revelation, becoming a giant red dragon with seven heads.

What it does: “The sea monster is God’s forever foe, fought and slain in days already ancient to the biblical writers but promising to resurface for another round, destined to be slain again in the most distant future,” Hamori writes.

Psalm 104:26 has a different take: It mentions Leviathan, declaring: “whom you formed in order to play with him.” Is this eternal battle with Leviathan just a game to God? 

Job once more has the most poetic descriptions of Leviathan: 

A sword reaching him will not endure, nor spear, dart or javelin.
He thinks of iron as straw, and bronze as rotten wood.
The arrow cannot make him flee; sling-stones become chaff to him. 
Clubs are reckoned as chaff; he laughs at the shaking of javelins. 

His underparts are like the sharpest of potsherds; he crawls like a threshing sledge in the mud.
He makes the deep boil like a cauldron; he makes the sea like a pot of ointment.
Behind him, he leaves a shining wake; one would think the deep to be white-haired. 
He has no equal upon the earth, a created thing without fear. 
He looks upon everything lofty, he is king over all the proud. (Job 41:12-34)

Mavet (aka Death)

What its name means: Death

What it looks like: He has an enormous mouth to feed his rapacious appetite.

What it does: “Mavet has come up through our windows, he has come into our palaces, to exterminate the children from the streets, the young men from the town squares” (Jeremiah 9:21). 

But you know him better as the Fourth Horseman of the Apocalypse: He’s the last to come, riding a pale horse. His mission? Kill one-quarter of the Earth’s population.

nephilim

What its name means: The word may mean something like “monstrous births.” It has to do with falling and is used to describe fetuses that are “fallen” — that is, miscarried. 

What it looks like: Hybrids who are the offspring of the daughters of men raped by the sons of God (lower-level divine beings, and not angels, Hamori points out). In one mention in Genesis, the nephilim are also described as giants.

What it does: The name is used to describe an ethnic group of “mighty men” from the land of Canaan.

See also: giant

Qetev

What its name means: Scholars aren’t sure and have translated it in a variety of ways, including Destruction or the Sting.

What it looks like: No description provided

What it does: In one story, he’s a destructive force of nature: “a whirlwind of Qetev, like a storm of mighty overflowing water he hurls down to the earth with his hand” (Isaiah 28:2).

Resheph (aka Plague)

What its name means: We’re not sure, though it’s most often translated as Plague.

What it looks like: Outside of the Bible, he’s a god who shoots poisonous flaming arrows.

What it does: He liked to use fire and lightning to kill people at God’s behest.

Satan (aka the Adversary)

What its name means: Satan is the Hebrew word for adversary.

What it looks like: Forget the red skin, horns, cloven hooves and tail. There’s no real description of the adversary in the Bible. 

Adversaries can make themselves invisible, though (just not to donkeys, apparently).

What it does: The prophet Balaam was doing what God asked him to do — and yet he got a sword-wielding angel called a satan sent to murder him. 

Tip: Ride a donkey. Somehow the donkey, not known as the fastest or most agile of beasts, evades the satan’s attack not once but three times. 

It’s in the story of Job that things take a much darker turn. God and the Adversary (now capital A, in his official role as prosecutor in the heavenly court) decide to punish another innocent man, this time to see if he wavers in his faith to God. It’s some sort of sadistic experiment. 

So, the Adversary summarily kills all of Job’s livestock and most of his servants. As if that’s not enough, he then sends a windstorm to blow down a house, which collapses, crushing all 10 of Job’s kids to death. Oh, and then they throw in some torture for good measure. Job’s body is covered with painful boils from head to foot.

seraph / seraphim (plural)

Much more impressive than their snakelike cousins, seraphim are mentioned in a vision the prophet Isaiah has, where he sees the giant form of God sitting on a throne in the Jerusalem Temple. He’s surrounded by seraphim calling out, “Holy, holy, holy is the Lord of Armies!” (Isaiah 6:3).

What its name means:  The Hebrew word suggests burning; essentially these are “burners.”

Keep in mind that “all translation is interpretation,” Hamori writes. “In this case, translators decide that Isaiah’s heavenly seraphim are unrelated to the deadly seraphim-serpents in other texts — and so they leave the Hebrew word seraphim untranslated only in Isaiah 6. Readers then have the impression that these creatures are unconnected.”

What it looks like: They have six wings. In Isaiah’s vision, two cover their faces; two cover their feet (a euphemism for genitals in the Bible); and two are used to fly. They’ve also got humanoid hands and feet, as well the body of a snake.

What it does: Isaiah stupidly mentions that his lips are “unclean” — so a seraph takes a burning coal and shoves it on his mouth. After performing this horrifying act, “the seraph explains the logic of this assault,” Hamori writes. “It’s to get rid of Isaiah’s sin.”

seraph-serpent / seraphim-serpents (plural)

During the Exodus, the wandering Jews couldn’t catch a break. After they had suffered from dehydration and disease, God sicced a swarm of poisonous snakes called seraphim-serpents on them (Numbers 21:4-9).

What its name means: Again, the Hebrew word roughly translates to “burners.”

What it looks like: This is a much less intense version of the heavenly seraphim. It’s a deadly snake with a bite of burning poison.

What it does: Kill numerous people with its lethal venom. Tip: To cure those who haven’t yet succumbed to the agonizing pain, create a seraph (Moses made his out of bronze), put it on a pole — and, in a bit of sympathetic magic, when the inflicted look upon it, they’ll be miraculously cured. 

spirit

What its name means: The Hebrew word for spirit is ruah, which also means wind or breath.

What it looks like: In 1 Kings, a “spirit — which you’d think by definition, should be disembodied — comes forward from the group and stands before God,” Hamori writes. “It’s only when the spirit crosses into the human realm that it shapeshifts, as if disintegrating into myriad invisible particles that can enter the mouths of four hundred prophets.”

What it does: In 1 Samuel, we learn why Saul gets rejected by God. He’s told to slaughter every last Amalekite — but Saul has the gaul to spare one single life: that of the king. For this, he’s abandoned by God, who chooses David instead. The merciful Saul is punished, “tormented by an evil spirit that ravages his mind, sending him into fits of frenzied violence,” Hamori writes.

When they’re not driving people insane, God’s evil spirits also sow discord, as one does with Sennacherib: “I will put a spirit in him and he will hear a rumor, and he will return to his land and I will make him fall by the sword of his own hand,” God says in 2 Kings 19:6-7. (Sure enough, the king heads home — and is promptly murdered by his sons.)

Is God the Real Monster?

Esther J. Hamori’s book God's Monsters challenges the sanitized interpretations of biblical creatures and forces us to confront a more terrifying and complex vision of God. 

“We’ve seen this God do bad, bad things,” Hamori writes. “He rarely does his own dirty work, instead deploying an array of monstrous creatures to get the job done, and always just the right monster for the moment: seraphim to threaten and intimidate people into submission, cherubim to guard the gateways and periodically to burn down portions of the earth and usher in divine destroyers, the Adversary to condemn and torture the innocent, spirits to gaslight, demons to destroy, and for a good old-fashioned slaying, perhaps an angel (if the angels aren’t too busy dragging people to hell or murdering masses of the earth’s population.”

The God of the Old Testament has long been understood to be a more angry, vengeful and even petty deity, especially when contrasted with the more compassionate figure of the New Testament. But the harsher aspects of God’s character have been whitewashed over time, likely because they make people uncomfortable. Hamori presents God not as a benevolent figure but one who commands a terrifying and violent entourage to enforce his will. In many ways, that makes him the biggest monster of all. –Wally

Descriptions of God’s Body in the Bible

From his massive member to a horned head, there are plenty of references to God having a corporal body in the Old Testament. Some shocking findings from “God: An Anatomy.”

Perhaps the most famous depiction of God is this detail of the Creation of Adam, painted by Michelangelo on ceiling of the Sistine Chapel.

What does God look like? 

Most people nowadays probably fall into two camps: those who say God is incorporeal, an entity without form — and those who imagine him as Michelangelo painted him, a powerful if elderly man with a flowing white beard and a penchant for long white robes.  

Those who think of God as bodiless haven’t paid enough attention to their Old Testament, though. In fact, the first clue is right there…in the beginning.

“So God created mankind in his own image, in the image of God he created them; male and female he created them” (Genesis 1:27). 

That means God is humanlike — or should I say, humans are godlike?

It’s not so strange that God had a body. All his fellow gods did, from his competition in the Middle East to the pantheons of Ancient Egypt, Greece and Rome. 

Add up all the descriptions of God in the Old Testament, and you get a red-skinned, powerfully built older man.

So what does he look like? Take all the Old Testament mentions of God, add them together and here’s what you get, according to Francesca Stavrakopoulou in her 2022 book God: An Anatomy:

A supersized, human-shaped body with male features and shining, ruddy-red skin, tinged with the smell of rainclouds and incense. His broad legs suggest he was accustomed not only to straining, leaping and marching, but sitting and standing resolutely stiff, posing like a ceremonial statue. His biceps bulge. His forearms are hard as iron. There are faint indentations around his big toes, left by thonged sandals. Beneath his toenails there are traces of human blood, as though he has been trampling on broken bodies, while the remnants of fragrant grass around his ankles suggest strolls through a verdant garden. The slightly lighter tone of the skin on his thighs indicates he was most often clothed, at least down to his knees, if not his ankles. Minute fibers of fine fabric — a costly linen and wool mix — indicate that his clothing was similar to the vestments of high-status priests. His penis is long, thick and carefully circumcised; his testicles are heavy with semen. His stomach is swollen with spiced meat, bread, beer and wine. The chambers of his heart are deep and wide. His fingers are stained with an expensive ink, and there are remnants of clay under his fingernails. On his arms are faint scars left from the grazes of giant fish-scales, and the crooks of his elbows, slightly sticky with a salty oil, bear the imprint of swaddling bands, suggesting he has cradled newborn babies. Traces of the tannery fluid used by hide-workers wind in a stripe around his left arm and down to the palm of his hand — a residual substance left by a long leather tefillin strap.

His thick hair is oiled with a sweet-smelling ointment, and shows evidence of careful styling: the hair-shafts suggest it was once separated and curled into thick ropes, while slight marks on the back of his scalp indicate it has been partly pinned beneath some sort of headgear, and his forehead is marked with the faint impression of a tight band of metal. Although his beard reaches beneath his chin, it has been neatly groomed, while his mustache and eyebrows are thick and tidy. The hair on his head and face shimmers — first dark with blue hues, like lapis lazuli, then white and bright, like fresh snow. And one glance, he has the beard of his aged father, the ancient Levantine god El; in another, it is the stylized beard of a youthful warrior, like the deity Baal. His ears are prominent, and their lobes are pierced. His eyes are thickly lined with kohl. His nose is long, its nostrils broad — the scent of burnt animal flesh and fragrant incense lingers inside them. His lips are full and fleshy, his mouth large and wide. It is at once the mouth of a devourer and a lover. His teeth are strong and sharp, his tongue is red hot. His saliva is charged with a blistering heat. The back of his throat is a vast, airy chamber, once humming with life. Below it is an opening of a cavernous gullet. Shadowy scraps of another powerful being, the dusty underworld king, cling to its walls.

The depictions of Yahweh in the Bible are disparate, but some common themes emerge.

Quite a picture, eh? All these details appear in various books of the Old Testament. Here’s a sampling.

God liked to walk in the Garden of Eden with Adam and Eve … before they dared to eat of the Tree of Knowledge of Good and Evil.

Walking and Talking With God

Later in Genesis, Adam and Eve have eaten of the forbidden fruit and hide from God when they hear him “walking in the garden.”

Enoch, Noah and Abraham go for walks with God as well — as did Moses. Sure, God showed up as a burning bush when they first met, but after that, “the Lord used to speak to Moses face to face, as one speaks to a friend” (Exodus 33:11). 

Yahweh first showed himself as a burning bush to Moses, but after a while they became good friends and would often take walks together.

Holy Shit! God’s Ground Rules 

With all that walking, God had to be careful he didn’t step in something unpleasant. 

When the Israelites flee Egypt en route to the Promised Land during the Exodus, God declares, “You shall have a designated area outside the camp to which you shall go; with your utensils you shall have a trowel; when you relieve yourself outside, you shall dig a  hole with it and then cover up your excrement, because Yahweh your God walks in your camp” (Deuteronomy 23:12-14). 

Apparently his omniscience doesn’t extend to knowing how to avoid excrement. It’s heartening to know that God steps in shit just like we do. 

The prophet Ezekiel saw God in a chariot supported by hybrid heavenly creatures.

The Cherubim Chariot 

After the Babylonians destroyed and plundered the Temple, the worshippers of Yahweh surely wondered if their god had also been vanquished. So the book of Ezekiel offers up a scene of Yahweh’s escape. He is seated on his supersized throne, using the Ark of the Covenant as his footstool (!). Cherubim (not the chubby baby angels you’re thinking of but four-winged celestial beings with four faces — that of a man, lion, eagle and cherub) perch upon wheels and bear the throne aloft. 

You didn’t want to be on Yahweh’s bad side; he was prone to violent reactions — including stomping people to death.

God’s Stomping Grounds

But God doesn’t only walk and rest his feet. Sometimes he goes on a murderous rampage. Yahweh marches back from a massacre in the enemy kingdom of Edom: “I trampled down peoples in my anger, I crushed them in my wrath, and I poured out their life blood on the earth,” he tells a sentry in Isaiah 63:6. 

“This is a god who has felt the crunch of bones and skulls under his feet; the warm, wet mulch of human flesh around his ankles; the heart spray of blood on his legs,” Stavrakopoulou writes.

In Isaiah’s vision of God, is that a massive robe filling the Temple — or something more phallic?

God’s Genitals on Display

A couple of prophets even boasted of seeing God’s oversized genitals — and yes, this is all in the Bible. Isaiah, in the middle of the 8th century BCE, entered the inner sanctum of the Jerusalem Temple, where he beheld a surprising sight. 

“My eyes have seen the King, Yahweh of Hosts!” the prophet declares in Isaiah 6:1. “I saw the Lord sitting on a throne, tall and lofty! His lower extremities filled the temple!”

But the Hebrew word he used for “lower extremities” was shul, which actually means “genitals,” Stavrakopoulou informs us. (It’s worth pointing out that many scholars argue that the word actually means the hem of a robe.)

So Isaiah is saying he saw God naked — and, um, let’s just say he was impressed. I guess we shouldn’t be surprised to learn that God’s hung. 

Another prophet, Ezekiel, describes a much stranger encounter: He sees God and focuses on what “looked to be his motnayim” — another Hebrew word for genitals, Stavrakopoulou writes. He looks above and below and sees the rest of the Lord’s body engulfed in flames (Ezekiel 1:27). 

I’m not sure why Ezekiel seems hesitant about if he’s looking at God’s groin or not — perhaps all that fire is blinding him a bit — but heavens knows Isaiah had no doubts about what he was seeing. 

The Ancient Egyptian god Min was usually depicted as having a massive erection.

‘The Imposing Erect Virility’ of the Gods

As shocking as this might seem, depictions and stories of gods having erections were common at the time these Bible books were written. A carving of the Egyptian god Min at Luxor Temple, for example, shows the fertility deity with a massive hard-on as he greets Alexander the Great. 

“In the ancient cultures of southwest Asia [Stavrakopoulou’s non-Western-centric terminology for the Middle East], a sizable penis, and even its occasional overt exhibition, did not render male deities less godly, but appropriately divine. The imposing erect virility of masculine gods was vividly celebrated in these ancient societies and the religious literature they produced,” Stavrakopoulou writes. “[T]he penises of ancient southwest Asian gods embodied a conspicuous and powerful hyper-masculinity deemed essential to the ordering, fruitfulness and well-being of the cosmos and its inhabitants.”

Cain, who killed his brother, Abel, might have been God’s son, not Adam’s!

Cain’s Baby Daddy Isn’t Adam…But God?!

Most of us assume that Adam and Eve had children — but if you look at the Bible, Eve declares that Cain at least was actually the offspring of her and God: “I have procreated with Yahweh!” she shouts in Genesis 4:1. 

“The more literal translation of the Hebrew is rarely seen,” Stavrakopoulou writes. “Most renderings of this verse default to a theologically fudged interpretation, so that Eve is merely presented as claiming that Yahweh has ‘helped’ her to ‘acquire a man,’ as any good fertility god might.”

Yahweh, like the Greek gods, who had sex with many unwilling women, could be prone to lust.

God as a Sexual Predator 

In the book of Hosea, God not only has a body — he actually gets it on with a young woman who’s the personification of Israel. 

“Here, Israel is a capricious teenager whose sexual allure so intoxicates God, he falls to scheming obsessively and possessively to make her his wife,” Stavrakopoulou writes. “‘I will take her walking into the wilderness and speak to her heart … and there she will cry out.’ 

“These words betray more than the romantic fantasy of a love-struck deity,” she continues. “God’s language here marks a shift from passion to threat: In claiming he will ‘seduce’ her, he uses a Hebrew expression more usually employed in the Bible to describe the rape of captive women.”

This idea of God as a sexual predator — or even just a sexual being — has been problematic for centuries, and that’s certainly true with our current sensibilities. 

“Theologically, the sexual grooming and graphic violence God inflicts on his young wife is immensely difficult for some modern-day believers to reconcile with their idealized constructs of God,” Stavrakopoulou says. “But for many Jewish and Christian readers, it is more specifically the graphic portrayal of a sexually actively deity that has proved unbearable: It has been mistranslated, dismissed as ‘mere’ allegory, or simply ignored.”

Foreign books are immensely dependent upon their translations — all the more essential for the Bible, a book so many people take literally. That’s what makes this softening of the original message so alarming. 

“In standard modern translations of the Tanakh [the Hebrew Bible] and the Christian Bible, the graphic sexual imagery of these troubling texts is softened or obscured with sanitized vocabulary and clunky euphemisms,” Stavrakopoulou writes. 

Yahweh knew Moses couldn’t handle seeing him all in his glory — so he offered just a peek of his cheeks.

God Shows Moses His Glorious Backside 

Up on Mount Sinai, Moses asks God to reveal himself: “How shall it be known that I have found favor in your sight, I and your people?” he asks in Exodus 33:16-18. “Please, show me your Glory.”

But God says that Moses can’t handle his awesomeness — he’ll only allow him to see his backside. It’s the same term used elsewhere in the Bible to describe the buttocks of an animal, according to Stavrakopoulou. 

God adds that no mortal could gaze upon his face and live. “In its narrative context, it is a capricious assertion, for Yahweh and Moses have already enjoyed a number of conversations ‘face to face’ — and Moses has survived,” Stavrakopoulou points out. 

Like other deities of the Middle East, Yahweh’s body is engulfed in a dazzling aura: He is “wrapped in light as with a garment” and “clothed with glory and splendor.” 

It’s all too easy to think of these descriptions as hyperbolic — but they’re meant to be taken literally, Stavrakopoulou asserts. 

Whether they were literal or beams of light, Moses came back from a convo with God bearing horns.

The Glory of God Makes Moses Horny

“In Exodus, however, God’s luminescent backside clearly gives off something more powerful than a wondrous afterglow. When Moses finally descends from the Holy Mountain, clutching the Ten Commandments, his own face is startlingly transformed,” Stavrakopoulou writes. “But quite how is a matter of some debate, for the ancient Semitic root of the Hebrew term used to describe this transformation probably means ‘horn,’ but is also associated with light. The earliest translations of this peculiar story indicate that, from at least the 3rd century BCE, Moses was understood to have developed horn-like rays of light, so that his face beamed with a divine radiance. Other ancient scholars would assume Moses’ face literally grew horns — a symbol of the divine elsewhere in the Bible — giving rise to startling medieval images of Moses as a double-horned being. Either way, Moses undergoes a bodily transformation so profound that the Israelites cannot look him in the face and are afraid to go near him. Moses’ visual encounter with God has left its mark on him, rendering him more divine than human.”

Poor Moses never entered the Promised Land — but was it God who took the care to bury him?

God the Gravedigger

Moses seems to have been the Old Testament character with the most face time with God. And that lasted right up until the moment of his death. The poor guy — being a favorite of Yahweh doesn’t get you much. Moses dramatically led the exodus of escaped Israelite slaves out of Egypt, delivered the Ten Commandments and wandered the desert for 40 years. Finally, the time has come to enter the Promised Land. But, in a shocking twist, God shows Moses the beautiful sight of their hard-earned payoff — and then tells him to literally drop dead: “Moses, the servant of Yahweh, died there in the land of Moab, at Yahweh’s command. And he buried him in the valley in the land of Moab” (Deuteronomy 34:5-6). 

“In the book of Deuteronomy, Moses’ gravedigger is God himself,” Stavrakopoulou writes. “Appalled by the idea that God could contaminate himself with the impurity of a corpse — even the corpse of so holy a man as Moses — some Jewish and Christian translators corrected what they perceived to be an error in the text: ‘he buried him’ simply became ‘he was buried’ or ‘they buried him,’ leaving generations of readers to assume that mourning Israelites or weeping angels had performed Moses’ mortuary rites, rather than God himself.”

Baal, one of Yahweh’s biggest rivals in the ancient Middle East

God Gets Horny

It’s an image that wouldn’t sit well with most modern Christians or Jews — especially given its connections to the Devil and demons — but one of the earliest descriptions of God describes him as having horns. “God, who brought [Israel] out of Egypt, has horns like a wild ox!” the prophet Balaam declares in Numbers 23:22. 

“In the Western imagination, a horned being tends to conjure images of the diabolical, and the grotesque. From the man-eating bull-headed Minotaur of Greek myth to the cloven-hooved goat-faced Devil of Christianity, horns have long served as a hallmark of horror,” Stavrakopoulou writes. “But in the world of the very ancient gods, horns were the most prestigious and alluring manifestations of divinity, and most deities would be equipped with them.”

Horns were a sign of power, designating that the gods who sported them “were beings of bullish virility and ferocious strength,” Stavrakopoulou explains. 

There’s a horrific description of a fiery God — right before he gobbles up a roasted king of Assyria.

The Nose Knows: God’s Wrath and a Kingly BBQ

“The God of the Bible was particularly proud of his nose,” Stavrakopoulou tells us. “In his lengthy monologue on Mount Sinai, he reels off a list of his best qualities, not only describing himself as merciful, gracious and abounding in steadfast love and faithfulness, but ‘long-nosed,’ too.” 

This is a way of saying he has deep nostrils, she says — meaning slower breathing, and by extension, being patient and slow to anger. 

But once that temper raged, you didn’t want to be anywhere near him. 

In the book of Isaiah, a seer spies Yahweh in the distance, his nose ablaze, “his lips full of fury, his tongue a devouring fire; his breath an overflowing stream, reaching up to the neck!” (Isaiah 30:27-28). 

What’s God up to? Oh, just sacrificing an Assyrian king upon a pyre and feasting on his charred corpse.

The ancient Levantine deity El

The Ancient Almighty: God’s Golden Years 

Our current image of God as a powerful older man comes from a portrayal in Daniel 7:9-10 from the 2nd century BCE. As Stavrakopoulou states, “God himself remains a picture of perpetual purity: Enthroned, in fiery splendor, and surrounded by thousands of divine courtiers, he is called ‘an Ancient of Days,’ dressed in robes ‘white as snow,’ with hair ‘like a lamb’s wool.’”

Again, this iconography is borrowed from neighboring deities, including El, whom Stavrakopoulou describes as Yahweh’s father — before Yahweh was retrofitted as the sole true god. El’s (and Yahweh’s) gray hair and beard were seen as signs of immortality and wisdom. 

Unseen and Unsculpted: The Theological Dance Around God’s Corporality

When thinking about this article, I realized something that shocked me: While I’ve seen a few paintings of God — Michelangelo’s Sistine Chapel depiction of God (looking suspiciously like Zeus) reaching out to Adam springs to mind — I couldn’t think of a single sculpture of him.

Part of this is due to the fact that the mentions of God as having a body in the Bible make many Christians uncomfortable. They want the only depiction of God as corporeal to be that of Jesus. 

“Those troublesome verses in the scriptures attesting to God’s body would be smoothed, smothered or superseded by new interpretive frameworks and some fancy philosophical footwork,” Stavrakopoulou writes. “A favorite tactic employed by early Christian theologians was simply to reduce all biblical references to God’s body to the symbolic.” 

Even further back than that, after the Jerusalem Temple had been rebuilt in the 5th century BCE, Yahweh’s worshippers understood all too well the vulnerability and lack of transcendence of a corporeal god. 

It was around this time one of the Ten Commandments became “You shall not make for yourself a carved image.”

Once a vividly described giant, God lost his body. 

Are there few statues of God because one of the Ten Commandments forbids “carved images”?

And therein lies the main controversy around God: An Anatomy. The book has ignited a theological firestorm, dragging Yahweh off his lofty pedestal and into the gritty, grimy realm of human physicality. Some scholars are applauding Stavrakopoulou’s daring approach, while others are reaching for the nearest exorcism manual.

Biblical scholar Joel Edmund Anderson isn’t holding back. On his blog, Resurrecting Orthodoxy, he accuses Stavrakopoulou of having a “tin ear to the literary artistry and nuance of the biblical texts,” arguing that her interpretations are overly literal and lack proper contextual grounding. 

So, even though many Christians believe everything in the Bible to be literal, they prefer to skip over references to God’s form — it’s all too close to those pagan deities. Team Symbolic has won out; no one really talks too much about God’s body nowadays. It seems that the divine anatomy lesson is one lecture most would rather miss. –Wally

Museo de Málaga: Art, Archaeology and Awe

Explore the Malaga Museum, a tribute to the past that feels completely current in the Palacio de la Aduana. 

The Malaga Museum has an impressive fine art collection, including Gladiadores/La Meta Sudante (Gladiators/The Meta Sudans) by José Moreno Carbanero from 1882.

Málaga, one of the world’s oldest cities, isn’t short on sunlight, history or art. With its dizzying array of attractions, the city offers much to explore. The Centro Histórico, a pedestrian-friendly area, is home to many notable sites, including the Museo de Artes y Costumbres Populares (Museum of Popular Arts and Traditions), the Renaissance-style Catedral de Nuestra Señora de la Encarnación (Málaga Cathedral) and modern art institutions like the Centre Pompidou Málaga. Nearby, the Alcazaba fortress stands guard on the hillside above a Roman amphitheater, connected to the Gibralfaro Castle by a fortified walkway.

The building that houses the museum is called the Palacio de la Aduana and was the customs house for the busy port.

History of the Museum of Málaga

A standout among these cultural treasures is the Museo de Málaga (Museum of Málaga). Housed in the Palacio de la Aduana (Customs House), this magnificent 17th century Neoclassical landmark is nestled between the verdant Parque de Málaga and the Ayuntamiento de Málaga (Málaga City Hall) in the heart of the Old Quarter.

Its construction was initiated in 1787 under King Charles III in response to Málaga’s growing maritime trade, and was conceived by architect Manuel Martín Rodríguez, who drew inspiration from Madrid’s palatial Real Casa de la Aduana (Royal Customs House). 

“With over 2,000 works of art and more than 15,000 artifacts in its archaeology collection, the museum offers a vast and captivating chronicle of Málaga’s history.”

Although the project actually started in 1791, it encountered several delays, including Napoleon’s failed attempt to conquer Spain during the Peninsular War, which pushed its completion date to 1829.

Nearly two centuries after its construction, the renovated venue reopened to the public, preserving the building’s original character while updating its interior to meet 21st century standards for accessibility. 

The museum unites the collections of the Real Academia de San Telmo (Saint Elmo Academy of Fine Arts) and the Museo Arqueológico de Málaga (Málaga Archaeological Museum) under one roof. With over 2,000 works of art and more than 15,000 artifacts in its archaeology collection, the museum offers a vast and captivating chronicle of Málaga’s history.

A mix of unmarked artifacts, including green glazed pottery and religious statuary, is displayed on wooden shelves inside the Visitable Warehouse section of the Museum of Málaga.

Ground Floor Visitable Warehouse

After paying the admission fee of €1.50 (approximately $1.63) per person, Wally and I began our visit on the ground floor with the Almacén Visitable (Visitable Warehouse), a storeroom of sorts, where objects are organized by time period and displayed in drawers and on shelves and wooden platforms. (It reminded us a bit of the ramshackle Egyptian Museum in Cairo.)

A collection of Hellenistic pottery, including terracotta heads, pig figurines and feet fills one of the display cabinets.

Among the artifacts were ancient vases, pots and fragments of centuries-old marble column capitals, feet, torsos and heads, displayed alongside 19th century oil paintings culled from the Fine Arts collection.

The warehouse is fun to explore, with its jumble of marble architectural fragments, a pair of Christ figures missing their crosses and a cathedral bell.

Look for the scale models, including one of the Roman amphitheater and (we think) the interior of Málaga Cathedral.

Wally and I oohed and ahhed over a scale model of the Alcazaba and Gibralfaro. In another part of the room, a glass display case held several devotional sculptures, including religious images of the Virgin Mary, underscoring the reverence and care with which these objects are treated.

A view of the palatial courtyard of the Museum of Málaga. The classical terracotta busts were added in 1885 to commemorate Queen Isabella II’s son Alfonso XII.

Central Courtyard 

Following our tour of the storehouse, we wandered through the expansive central courtyard, graced with palm and orange trees, a fountain and informational panels recounting the building’s history, including Queen Isabella II’s visit in 1862. Terracotta busts, added to honor her son Alfonso XII’s visit 23 years later, have adorned the uppermost balustrade of the courtyard gallery ever since.

When we visited, there was a special exhibit on the hometown hero Picasso.

Special Exhibit on Picasso

The port city is the birthplace of Pablo Picasso and, during our visit, it was hosting the exhibition La presencia de Picasso (The Presence of Picasso) to mark the 50th anniversary of his death. 

A selection of lithographs from Picasso’s Faunes et Flore d’Antibes series at The Presence of Picasso exhibition.

On a separate note, the Museum of Fine Arts previously occupied the Palacio de Buenavista (Buenavista Palace), but it was unceremoniously packed up and placed in storage in 1997 to make way for the Museo Picasso Málaga (Málaga Picasso Museum).

Fauno Blanco Tocando el Aulós (White Faun Playing the Flute) by Pablo Picasso, 1946

The exhibition featured lithographs from the Faunes et Flore d’Antibes series and engravings from Deux Contes, both drawn from the Fine Arts permanent collection. Wally, a big fan of mythology (and the male form), especially liked the collection. 

A glimpse of what awaits you at the beginning of the Fine Arts section of the museum.

First Floor: Fine Arts

Upstairs (keep in mind that in Europe the first floor is what we Americans would call the second floor), the Fine Arts section covers a broad spectrum of 19th century artworks, including pieces by old masters like Antonio Muñoz Degrain, Bernardo Ferrándiz y Bádenes, Fernando Ortiz y Comarcada, José Gutiérrez de la Vega and Pedro de Mena, among others. It also features works by prominent members of the Málaga School of Painting, such as Alfonso Ponce de León y Cabello, José Suárez Peregrin and Pedro Sáenz Sáenz.

Los Saltimbanquis (The Acrobats) by José Suarez Perigrín, 1932

El Juicio de Paris (The Judgment of Paris) by Enrique Simonet y Lombardo, 1904

Después de la Corrida (After the Bullfight) by José Denis Belgrano, 1890

Estudio de Anatomía Masculina (Study of the Male Anatomy) by Bernardo Ferrándiz y Bádenes, 1862

Tarquin y Lucrecia (Tarquin and Lucretia) by José López García, 1988

Alegoría de la Historía, Industría y Comercio de Málaga (Allegory of the History, Industry and Commerce of Málaga) by Bernardo Ferrández and Antonio Muñoz Degrain, 1870

The first piece you’ll see as you enter these galleries is a maquette, a final study for the ceiling of the Teatro Cervantes by the Valencian-born painter Bernardo Ferrándiz. In 1870, he and Degrain were commissioned to decorate the theater. Ferrándiz depicted himself as Mephistopheles, the demon who barters for Faust’s soul, on the stage set. 

The female figure, possibly a symbol of the city, sits atop a shrine holding a caduceus— a symbol associated with Mercury, the god of commerce and prosperity. Other aspects of the city’s booming cultural and economic success, including agriculture, industry, transportation and fishing, highlight its strategic location as a trading port.

However, to me, some of the most interesting pieces came from religious institutions. Like the Museo de Bellas Artes de Córdoba, this museum’s collection includes significant works of art, images and architectural elements seized from the deconsecrated monastic properties, including the ex-convents and monasteries of the Poor Clares of Santa Clara, San Bernardo, La Merced and San Pedro de Alcántara.

Mudejar ceiling corbels 

Next, you’ll notice a set of four carved oak corbels, or brackets. They originally adorned the ends of timber beams in the Convent of La Merced and became part of the academy’s collections in 1915. These architectural elements illustrated the sins and vices parishioners were expected to renounce before entering the holy space.

Head of Saint John of God by Fernando Ortiz y Comarcada, circa 1755-1765

Fernando Ortiz y Comarcada’s sculptural style was greatly influenced by Pedro de Mena — in fact, for many years, this work was attributed to Mena. However, documents found for the production of four sculptures at Parroquia Santiago Apóstol in Málaga confirmed Ortiz as the artist. This head is the only surviving piece from that series, which was largely destroyed during the protests of 1931. An anonymous citizen saved this from the flames and left it at the parish door in a basket, ensuring that future generations could appreciate its artistic quality.

Ecce Homo by Pedro de Mena, circa 1676-1680

Throughout his lifetime, Pedro de Mena was in high demand, securing a steady stream of public and private commissions across Spain and Latin America. It’s believed that Ecce Homo came from the estate of El Retiro in Málaga and was first owned by Bishop Alonso de Santo Tomás, who hired Mena to carve images for his private oratory while the sculptor was working for the bishop’s order at the Monastery of Santo Domingo.

(Postrimerías) A Moro Muerto, Gran Lanzada, or (Dying Moments) Kicking a Man While He’s Down by Bernardo Ferrándiz y Badenes, 1881

This small painting might seem unremarkable at first glance, but it has an interesting story behind it. The artwork was inspired by an actual event that forever changed the artist’s life. Bernardo Ferrándiz y Badenes had a physical confrontation with Juan Nepomuceno Ávila, a fellow academy member, municipal architect and close friend of the Marquis of Salamanca. The dispute arose because Ávila denied financial support to the San Telmo Fine Art School, where Ferrándiz was the director at the time.

Ávila used the incident to have Ferrándiz expelled from the institution. Ferrándiz subsequently was accused of attempted murder and imprisoned. Although the exact details of the altercation remain unclear, the event left Ferrándiz shaken. The once-prominent artist faced social ostracism, which plays out in his artwork, where he depicted himself as the skeleton of a cat, with Ávila as a mouse. He inscribed the following on the frame: “Fierce king, yesterday I gave you my laws to respect, and today, with death upon me, even you come to trample the dust of what I was.”

Additionally, the museum has a small collection of Spanish modern art up to the 1950s, including works by José López García, José Moreno Villa, Juan Fernándo Béjar and, yes, Picasso. 

This Italo-Corinthian helmet most likely belonged to a high-ranking warrior. It was unearthed in 2012 by archaeologists excavating a site between Calles Jinete and Refino in Málaga’s historic quarter.

Second Floor: Archeological Section 

The second floor (third floor to you Americans) galleries focus on archaeology, with the first two rooms dedicated to the private collection of Jorge Loring Oyarzábal and his wife, Amelia Heredia Livermore, also known as the Marquis and Marquesa de Casa Loring.

The Lorings had a passion for antiques and collecting. One of their most important acquisitions was several pieces from the collection of 18th century Córdoban antiquarian Pedro Leonardo de Villacevallos, which included capitals from Medina Azahara, Umayyad-period tombstones and sculptural relics from Ancient Rome.

A collection of marble busts, and funerary plaques from the Villacevallos collection acquired by the Lorings

This 18th century religious sculpture, depicting the realistic severed head of Saint John the Baptist, is paraded through the streets of Málaga during Holy Week. 

A mosaic fragment depicting Priapus, the son of Venus and Bacchus. Commonly shown with a massive erection and basket of fruit, it’s no surprise he’s a god of fertility.

The remaining halls cover a vast historical timeline, showcasing how each civilization — from prehistory through the Phoenician, Roman, al-Andalus and Christian Reconquest periods — contributed to the city’s cultural mosaic. In recent decades, artifacts unearthed during construction and in excavations carried out by the University of Málaga have been added to the collection.

A detail of the center of a 1st century Roman mosaic depicting the goddess Venus surrounded by a menagerie of birds.

Speaking of mosaics, a 1st century floor panel depicting the birth of Venus, the goddess of love, sex and beauty, takes center stage in the museum’s Roman galleries. Discovered in 1956, it was found lining the floor of a Roman villa in the nearby town of Cártama. This impressive mosaic measures 13 by 20 feet (4 by 6 meters). It shows the naked goddess reclining on a giant scallop shell above a couple of dolphins.

The 2nd century Roman statue known as La Dama de la Aduana, discovered while digging the foundations of the museum in 1791, welcomes visitors at the entrance.

A Trip Back in Time at the Museo de Málaga

To sum up our experience, the Museo de Málaga was more than just a tourist attraction. It was a journey through epochs that celebrates Málaga’s multifaceted identity and enduring spirit. Its artworks and archaeological objects are well organized and clearly marked in both English and Spanish. As you walk through its halls, the city’s colorful history comes alive. –Duke

Museo de Málaga

Plaza de la Aduana 1
29015 Málaga
Spain

 

Santa María la Mayor’s Islamic Roots and Catholic Grandeur

A repurposed mosque, a connection to Hearst Castle, Virgin Mary processional statues and rooftop views in Ronda, Spain. 

The unassuming façade of Santa María la Mayor reflects the adjacent Ayuntamiento (City Hall) and a Moorish minaret-turned-bell-tower. 

After enjoying a late lunch in Ronda, Spain, on the terrace at Don Miguel, the restaurant of the hotel with the same name, we agreed to visit the Iglesia de Santa María la Mayor (Church of Saint Mary the Great). Wally and I were traveling with our friends Jo and José and were delighted to have them as our local guides for the weekend.

The food was good, but the view overlooking the steep El Tajo gorge and Puente Nuevo bridge was even better. The limestone cliffs plunge 390 feet (120 meters) to the Guadalevín River below the bridge connecting the historic old town (La Ciudad) to its modern counterpart (El Mercadillo). 

“Architect Julia Morgan used the bell tower of Santa María la Mayor as the model for the ones at Hearst Castle, the estate of publishing tycoon William Randolph Hearst in San Simeon, California.”

Ronda’s iconic Puente Nuevo, or New Bridge, certainly isn’t “new” — having been completed in 1793 — but it is the most photographed.

As we navigated the cobblestone streets and approached the church, we paused to gaze up at its unusual double-galleried façade, which looks more municipal than religious. The balconies were added during the reign of Felipe II and were a privileged place for nobility to watch the equestrian tournaments held in the square.

José told us that the American architect Julia Morgan used the bell tower of Santa María la Mayor as the model for the pair at Casa Grande, the main house of Hearst Castle, the elaborate hilltop estate of publishing tycoon William Randolph Hearst in San Simeon, California.

Ronda didn’t just leave a mark on Hearst; it also captivated Ernest Hemingway and Orson Welles, both passionate bullfighting enthusiasts who found refuge here. Welles even chose to have his ashes interred in a dry well on the Recreo San Cayetano estate of his good friend, the matador Antonio Ordóñez, on the outskirts of Ronda.

A copy of the illuminated Libro de Horas de la Reina Isabel (Queen Isabella’s Book of Hours). The original is part of the Cleveland Museum of Art’s collection.

Sacred Transformation: The Evolution of Iglesia de Santa María la Mayor 

The church used Ronda’s principal mosque as its foundation. But long before that, the site was allegedly a Roman temple to Diana, goddess of the hunt. 

The conversion from mosque to church began in earnest following the Reconquista of Ronda by Christian military forces in 1485. By the following year, King Fernando II (1479-1516) reconsecrated it as an abbey dedicated to the Virgin of Encarnación.

A statue of Mary as the Queen of Heaven. One interpretation of the crescent moon she’s standing on is that it represents her perpetual virginity.

During the reign of Charles I (1519-1556), its status was elevated to “colegiata” — a collegiate church — led by a clergy of ordained ministers without the direct involvement of a bishop. Its official title is the Real Colegiata de Santa María de la Encarnación la Mayor de Ronda, but locals commonly refer to it as the Iglesia de Santa María la Mayor due to its 19th-century designation as a “high parish” or “parroquia mayor.” Mass is held on Sundays and public holidays at 1 p.m. and on Thursdays at 8 p.m. April through September. 

Traces of its Islamic past are evident in the square-shaped body and arched windows punctuating the bell tower’s brick exterior, which originally served as the minaret of the mosque. It was probably more cost-effective to appropriate and reuse than to completely rebuild. Even so, the renovation of Santa María la Mayor required substantial funding and took nearly two centuries to complete. 

The remains of the mihrab, a semicircular prayer niche covered with stylized Arabic calligraphy and indicating the direction of Mecca, is visible from within the vestibule. Beyond is the gift shop, where we purchased admission for 4.50€ or about $5 per person to gain entry.   

This three-tiered chandelier suspended from the central vault of the Renaissance nave includes 34 lights and 24,700 pieces of sparkling cut crystal.

Split Personality: The Interior of Santa María la Mayor 

Inside, the ornate space feels more like a cathedral than a church. Constructed in two phases, the Gothic half follows the floor plan of the former mosque, while the enlargement initiated after the earthquake of 1580 reflects the evolution of architectural styles that rose in popularity during its extended completion and renovations, including both Renaissance and Baroque elements.

This altar is an impressive example of Spanish Baroque, a style known for its exuberance, grandeur and rich decorative elements.

The Virgin de la Aurora shows Mary in her aspect as Our Lady of the Dawn, a beacon of hope and a source of spiritual guidance for Catholics.

Altar of the Sagrario

The central nave of the Gothic section features an ornate and detailed Baroque giltwood altarpiece. Standing within a niche beneath a Marian crown is the figure of the Inmaculada, the Virgin Mary, standing on clouds. She’s flanked by representations of her mother, Santa Ana; her father, San Joaquín; and the Arcangel San Rafael. Twisted Solomonic columns, covered with delicately carved grapevines and topped by Corinthian capitals, complete the tableau. During our visit, the revered image of the Virgen de la Aurora (Virgin of the Dawn) was displayed on an elaborate paso, or float used for processions.

The Christ child sits upon the shoulders of the giant Saint Christopher and holds a fancy rattle, er, globus cruciger, a small sphere with a cross affixed to its top, symbolizing his sovereign dominion.

Mural of San Cristobalón

The large-scale mural to the left of the altar depicts a larger-than-life San Cristobalón (Saint Christopher), the patron saint of travelers, carrying the baby Jesus upon his shoulders. It was painted by Rondenian artist José Ramos. 

The dramatic statue of Nuestra Señora del Mayor Dolor (Our Lady of Sorrows) depicts the Virgin Mary with her eyes cast heavenward, heart pierced by a sword, her hands clasped in prayer.

Altar of Nuestra Señora del Mayor Dolor

To the right is a highly ornate Churrigueresque-style altar framing a red velvet-lined niche holding the processional figure of Nuestra Señora del Mayor Dolor (Our Lady of Sorrows), which belongs to the religious brotherhood of the Hermandad del Santísimo Cristo de la Sangre. The sculpture depicts the moment when Mary learns that her son will die for the sins of mankind. Her eyes are lifted upwards and her hands are clasped, holding a rosary. Most dramatically, her heart is pierced with a silver sword, and a pair of cherubs flutter menacingly beneath her — one appears to be holding a hammer, and the other, pincers.

The Renaissance-period choir screen is embellished with imagery of the apostles and other saints and has a lectern stand holding a 16th century antiphonal (choir book). 

Coro

The choir screen was a Renaissance addition and features intricately carved cedarwood reliefs depicting the apostles and other saints. It’s no accident that it was placed strategically at the nave’s center as it served as a partition to divide the church into two social classes: aristocrats to the front and parishioners to the back. The lectern stand supports a 16th century antiphonal (choir book), its musical notations intricately inscribed on pages made of vellum. 

The high altar of Santa María la Mayor has an elaborately carved wooden canopy that showcases the Holy Spirit, the Archangel Gabriel and the Virgin Mary.

Baldaquino of the Altar Mayor

One of the most striking elements of the church is the impressive baldaquino, or canopy, located on the high altar under the central dome of the Renaissance nave. Carved from wood, it consists of four slender, finely carved Solomonic columns that support a towering highly decorated cupola topped by an angel. 

The original altarpiece was destroyed during the Spanish Civil War (1936-1939) and replaced by the baldaquino from Nuestra Señora de los Ángeles (Our Lady of the Angels). 

Within the ornate structure are the Archangel Gabriel and the Holy Spirit in the guise of a dove visiting the Virgin to inform her that she will conceive and give birth to Jesus Christ. 

Be sure to climb up to the rooftop, like Duke did, for a view of Ronda from above.

Up on the Rooftop 

We passed through the doorway to the right of the altar and climbed the narrow steps of the winding spiral staircase leading to the roof and viewing deck.

Jo stands on a balcony overlooking the square and the Ayuntamiento, the City Hall.

While we were there, the late afternoon sun cast a soft, warm glow over the terracotta-tiled rooftops of the old city, and it was so clear that we could see the rugged Sierra Nevada mountains in the distance.

Views of the Old Quarter and the mountains beyond from the rooftop

Seen from above, the spiral staircase leading to the rooftop resembles a snail’s shell. 

There’s a long bench if you need to rest or take a moment to enjoy the view. Make sure to peek through the small door at the top of the staircase to take in a bird’s-eye view of the interior of the church.

A figurine of the Baby Jesus with outstretched arms was one of Duke’s favorite pieces in the church’s museum.

Back Down on Earth

After exploring the rooftop, Jo, José, Wally and I returned to the ground floor and wandered through the church museum. It had several glass-front cabinets displaying various religious objects: vestments (clergy apparel), chalices and sculptures, including a life-sized glassy-eyed baby Jesus, which I imagine might get placed in the church’s crèche on Christmas Day. 

The Iglesia de Santa María la Mayor is a short distance from the Puente Nuevo, but its location in the leafy park-like Plaza Duquesa de Parcent feels a world away from the overcrowded tourist area. –Duke

Colegiata Santa María la Mayor 

Plaza de la Duquesa de Parcent s/n 
29400 Ronda Málaga
Spain  

 

Why Did Christ Have to Be Born of the Virgin Mary?

Virgin births weren’t unusual in pagan times — just in the Judeo-Christian tradition. Here’s how sex got tangled up with the idea of sin, and by extension, chastity became the ultimate sign of virtue. 

Nativity, Birth of Jesus by Giotto, circa 1305

Early Christians needed their savior to have been born of a woman without sin, and that included the act of fornication. Greek myths could have influenced their theology.

Mary, the mother of Christ, is held up as one of a kind among humans for getting pregnant and giving birth without ever having sex. 

But believe it or not, so-called virgin births weren’t uncommon in the pagan world. Pythagorus, Plato and Alexander the Great were all said to have been born of virgins by the power of a holy spirit. 

Alexander the Great’s mom dreamed of a lightning bolt striking her vagina — and lo and behold! She became pregnant with the future king of Macedon. In antiquity, “virgin” births weren’t all that uncommon.

“Christians, aware of the antique pantheon, are still worried by the parallel between Christ’s story and the dozens of virgin births of classical mythology,” Maria Warner wrote in her 1976 work Alone of All Her Sex: The Myth and the Cult of the Virgin Mary.

So how exactly does one conceive without fornication? We can turn once again to paganism. In Greek mythology, the closest parallel seems to be when Zeus turned himself into a shower of gold and impregnated Danae, who gave birth to the hero Perseus.   

Danaë and the Golden Shower by Andrea Casali, circa 1750

The Greek myth of Zeus impregnating a woman in the form of a golden rain could have inspired the form the Holy Ghost took with the Virgin Mary.

The Greek god Zeus metamorphosed into a swan to couple with Leda. Did this bird imagery inspire the Holy Ghost’s representatoin as a dove?

Then again, the Holy Ghost is often depicted as a dove, and in another encounter, Zeus, that shapeshifting, lecherous cad, adopted the form a bird as well: He became a swan to seduce (or, perhaps, rape) Leda, mother of Helen of Troy, the twins Castor and Pollux, and another daughter, Clytemnestra.

The Annunciation by Fra Angelico, 1445

The shaft of light symbolizing the Holy Ghost isn’t too different from Danae’s shower of gold. Notice the contrast of the Virgin with Adam and Eve being expelled from the Garden of Eden to the left.

Connecting Sex With Sin

Of course in these cases, Zeus is copulating with the women. It’s an act of lust, and, at least for the god, one of pleasure. That’s in stark contrast to the Christian idea of Mary’s conception of Jesus: She remains a virgin, her maidenhead unbroken, and there’s no animal-like rutting. 

This was an essential part of the Christ story. The fathers of the Christian church connected sex with sin early on, taking their cue from Genesis and the Garden of Eden: Fornication becomes necessary for reproduction, and the pain of childbirth a curse that Eve, and all women to follow, must bear. 

Sex was seen as the ultimate sin. Saint Augustine wrote in City of God, in 426, that the passion aroused by lovemaking was sinful — though the holy act of propagation was not. In a similar vein, he added, “We ought not to condemn marriage because of the evil of lust, nor must we praise lust because of the good of marriage.”

“[I]n this battle between the flesh and the spirit, the female sex was firmly placed on the side of the flesh,” Warner wrote. “For as childbirth was woman’s special function, and its pangs the special penalty decreed by God after the Fall, and as the child she bore in her womb was stained by sin from the moment of its conception, the evils of sex were particularly identified with the female. Woman was womb and womb was evil.”

The Annunciation from the Grabower Altar in St. Peter’s in Hamburg, Germany, 1383

Saint Ephrem the Syrian wrote, “Perfectly God, he entered the womb through her ear.” The idea was that by conceiving via her ear, Mary remained a virgin.

The Virgin Mary: Not Your Typical (Sinful) Woman

Mary’s impregnation is, in contrast, a serene, holy act. It’s possibly tied to the very words of the Angel Gabriel when he announces her role in bringing forth the Savior. In ancient times, some people actually believed pregnancy could come about through the ear. (It gives a whole new meaning to Iggy Pop’s lyric “Of course I’ve had it in the ear before.”)

A sixth century hymn that’s still sung today goes:

The centuries marvel therefore 
that the angel bore the seed,
the virgin conceived through her ear, 
and believing in her heart, became fruitful.

The son of God chose to be born of a virgin, according to Augustine, because it was the only way to enter the world without sin. So, “Let us love chastity above all things,” he wrote, “for it was to show that this was pleasing to Him that Christ chose the modesty of a virgin womb.”

Painful births were one of God’s punishments for Eve eating the fruit of the Tree of Knowledge of Good and Evil. But Jesus’ mother couldn’t be connected with anything so sinful, so she was said to be a virgin, pure and intact.

Slandering the Virgin Mary

The early Christian church had to defend itself against rumors that painted Mary in a negative light. Jews and pagans in Alexandria, for example, were saying that Jesus wasn’t conceived by God — instead, he was the bastard child of an incestuous union of Mary and her brother. 

It doesn’t seem far-fetched nowadays to question a scientific impossibility — but at the dawn of Christianity, virgin births wouldn’t have been too big of a surprise. For early Christians, anything to do with female bodily functions was dirty and sinful. So they would have insisted their savior had to have come from an inviolate womb. And, despite evidence to the contrary, Mary became a virgin. –Wally

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