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Witches by alexey ,  Oct 19, 2016
How can you spot a witch? Usually you can't. A working witch can be a pagan, a Christian, Jewish or have no religion at all. Being a witch does not mean giving up the God/dess you worship. This is going to be a guide to all the questions you might have. So if one isn't answered please ask. Also, this will be a place to shop too, since I know how busy folks are today. Also, it is meant for magical folk and pagans of all levels. So if something seems above your head wait until you've trained a bit longer or ask your elder. Going solo? Just tap me to put in an explanation. Remember we all learn things at different times, so there is no shame in admitting you've never done something.

Why I am a Witch

I am a witch because nature speaks to me.I am a witch because witch is woman and woman is witch.I am a witch because I turn focused intention into will.I am a witch because I believe in the unseen.I am a witch because I feel the past, present and future.I am a witch because I have fought my way through patriarchy.I am a witch because I know my body, mind and spirit.I am a witch because I know there are two sides to everything.I am a witch because cats follow me everywhere.I am a witch because ravens look for me.I am a witch because love flows through me.I am a witch because I believe in magick.I am a witch because I am magick.

The Salem witch trials were a series of hearings and prosecutions of people accused of witchcraft in colonial Massachusetts, between February 1692 and May 1693. Despite being generally known as the Salem witch trials, the preliminary hearings in 1692 were conducted in a variety of towns across the province: Salem Village (now Danvers), Ipswich, Andover and Salem Town.

The most infamous trials were conducted by the Court of Oyer and Terminer in 1692 in Salem Town. One contemporary writer summed the results of the trials thus:

"And now Nineteen persons having been hang'd, and one prest to death, and Eight more condemned, in all Twenty and Eight, of which above a third part were Members of some of the Churches of N. England, and more than half of them of a good Conversation in general, and not one clear'd; about Fifty having confest themselves to be Witches, of which not one Executed; above an Hundred and Fifty in Prison, and Two Hundred more acccused; the Special Commision of Oyer and Terminer comes to a period,..."—Robert Calef[1]

At least five more of the accused died in prison.

"When I put an end to the Court there ware at least fifty persons in prision in great misery by reason of the extream cold and their poverty, most of them having only spectre evidence against them and their mittimusses being defective, I caused some of them to be lettout upon bayle and put the Judges upon consideration of a way to reliefe others and to prevent them from perishing in prision, upon which some of them were convinced and acknowledged that their former proceedings were too violent and not grounded upon a right foundation ... The stop put to the first method of proceedings hath dissipated the blak cloud that threatened this Province with destruccion;..."— Governor William Phips, February 21st, 1693[2]

The episode is one of the most notorious cases of mass hysteria, and has been used in political rhetoric and popular literature as a vivid cautionary tale about the dangers of isolationism, religious extremism, false accusations and lapses in due process.[3] It was not unique, being an American example of the much larger phenomenon of witch trials in the Early Modern period, but many have considered the lasting impressions from the trials to have been highly influential in subsequent American history.

"More than once it has been said, too, that the Salem witchcraft was the rock on which the theocracy shattered."— George Lincoln Burr pg. 197[4]

"Witch Hill," or "The Salem Martyr" 
Description: Oil painting by New York artist Thomas Slatterwhite Noble, 1869. The painting won a silver medal at the 1869 Cincinnati Industrial Exposition. Noble gained a reputation for his dramatic paintings of abolitionist subjects, and later turned to the Salem witch trials for another powerful moral theme. A tradition in the Noble family holds that the model for Witch Hill was a Cincinnati librarian who was a descendant of a woman who was executed in the Salem witch trials.
Source: Thomas Slatterwhite Noble 1835 - 1907. By James D. Birchfield, Albert Boime, and William J. Hennessey. Lexington: University of Kentucky Art Museum. Collection of the New York Historical Society, 1988

 "Examination of a Witch" Thompkins H. Matteson, 1853.
Description: Generally supposed to represent an event in the Salem witch trials, an earlier version of this painting was exhibited by the artist in New York in 1848 with a quotation from John Greenleaf Whittier's book Supernaturalism of New England, 1847: "Mary Fisher, a young girl, was seized upon by Deputy Governor Bellingham in the absence of Governor Endicott, and shamefully stripped for the purpose of ascertaining whether she was a witch, with the Devil's mark upon her." See, "A Study of the Life and Work of the Nineteenth Century Artist Tompkins Harrison Matteson (1813-1884), by Harriet Hocter Groeschel, M.A. thesis, Syracuse University, 1985, pp. 37-38.
Source: Peabody Essex Museum, Salem, MA

by Anne Stokes

Luis Ricardo Falero

Luis Falero, born at Toldeo in 1851, and who died in 1896, was originally in the Spanish Navy, but he forsook that vocation for painting, studying first in Paris, and ultimately in London, where he took up his residence. His love of astronomy, in which he was well-versed, led him to import into his allegorical work much which had relation to the heavens. It was not the highest form of Art by any means, but there was considerable beauty and an ethereal suggestion in it which appealed to many, and procured him a wide reputation. The most popular of these was 'The Marriage of a Comet'; another was 'Twin Stars' (now in the Metropolitan Museum, New York). Other works, more or less fanciful, such as 'The Mermaid' (seen at the Guildhall in 1901, and belonging to Mr. Alderman Colley), offered facilities for the expression of his invariable theme, that of the nude female form, which is brought with great charm and accuracy of drawing into all his star pictures, as, of course, the main motive. Coloured reproductions of his works have greatly extended the public's knowledge of him, and increased his reputation in his own peculiar and individual line. Two subject pictures of a different kind attracted considerable notice: 'The Dream of Faust' and 'Unto a Better Land'. Most of his works are in New York. In the course of his career he illustrated the astronomical works of Camille Flammarion.

From 'Modern Spanish Painting, being a review of some of the chief painters and paintings of the Spanish School since the time of Goya' by Alfred George Temple, 1908.

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