A Traditional Witch Image
19
This was the earliest form of spell casting, and perhaps that is where the term "casting a spell" originated (as in "casting a shadow"). (Perhaps even the `Wiccan "Book of Shadows" may have originally been a record of these shadow forms.
from the text
Here we will examine a very ancient form of magick known as Shadow Magick. There is a metaphysical connection between the shadow and the body (or object) that casts the shadow. Charles Leland, in his book Legends of Florence, addresses this concept as follows:
... It is born of light, yet is in itself a portion of the mystery of darkness; it is the facsimile of man in every outline, but in outline alone; filled in with uniform sombre tint, it imitates our every action as if in mockery, which of itself suggests a goblin or sprite, while in it all there is something of self, darkling and dreamlike, yet never leaving us . . .'
In ancient Egypt, the shadow was believed to be a portion of the soul itself. There were eight bodies which comprised a human entity in the theology of Egyptian religion. These were the Khat, a body; Ba, the spirit; Khon, the intellect; Khaibit, the shadow; Ren, the name; Ka, the eternal vitality; Ab, the heart; and Sahu, the mask.
It is interesting to note that the ancient Etruscans believed that a portion of each human survived in a shadow-like form. They used the word Hinthial as the term for this surviving form (which they believed lived in, or around, the tomb or burial site). Leland makes reference in his book to the Hinthial, of which he says:
I had the belief, derived from several writers, that Hinthial in Etruscan meant simply a ghost or revenant; the apparition of someone dead. But on mentioning my discovery of this legend (the Legend of Intialo) to Professor Milani, the Director of the Archaeological Museum in Florence, and the first of Etruscan Scholars, he astonished me by declaring that he believed the word signified a shadow, and that its real meaning in its full significance had apparently been marvelously preserved in the Italian witch Tradition.'
The legend of Intialo, which Leland recounted to Professor Milani, deals with an entity who takes on the form of a shadow. In this form, Intialo terrorizes anyone whom he selects as a target. The legend originates from the old region of Tuscany, which is in the north of Italy (the early site of the Etruscan civilization). In Leland's particular tale of Intialo, an evil sorcerer is attacked by the shadow form of Intialo, and tries to fend him off. In this story, of interest to Witches is the fact that the sorcerer banishes Intialo by declaring that he (the sorcerer) is protected by a "lovely witch." Italian witches will be delighted to know that mention of the walnut tree (a famous site of witch gatherings in Benevento, mentioned in the writings of Saint Barbato as early as A.D. 662) is also made in the legend, confirming the antiquity of the Strega Tradition. Leland gives this account of the words spoken to Intialo by the sorcerer:
Intialo! now, confess that with all thy craftiness thou didst not know what now I tell, that I am protected well by a lovely witch, and she is mightier far, 0 fiend than thee.
Intialo! ere we go, if thou more of me wouldst know, come at midnight - I shall be 'neath the witches' walnut tree, and what I shall make thee see I trow will be enough for thee.
Intialo! in that hour thou shalt truly feel my power and when thou at last shalt ween that on the witches' tree I lean, then to thee it shall be known that my shadow is thine own.
Intialo! everywhere with me magick charms I bear, ivy, bread, and salt and rue, and with them fortune too.
Intialo! hence away, unto thee no more I'll say; now I fain would go to sleep, see that thou this warning keep. I am not in power thine, but thou truly art in mine.'
Leland had obtained this legend, along with other treasures, from the good Witches of Tuscany. He spent many years there studying Witch lore, and made many significant discoveries.
Having labored the point here of the lore of the shadow, let us look now at the use of the shadow in Italian Witchcraft. Traditionally, shadows symbolizing a power animal were cast upon an object, or person, in order to transfer the nature of the animal into the target. This was the earliest form of spell casting, and perhaps that is where the term "casting a spell" originated (as in "casting a shadow"). Perhaps even the Wiccan "Book of Shadows" may have originally been a record of these shadow forms.
To perform this type of spell, you must first select the target object, and then determine which animal would most likely be associated with the desired "charge" for which the spell was designed. For example, you might choose a wolf shadow for hunting skill, or even for protection of a home, or a personal object. You might choose a panther shadow for tracking skills, swiftness, or war magick. A rabbit shadow symbolizes fertility, while a snake represents craftiness and virility. These are only a few good examples. A children's book on casting hand shadows will demonstrate the necessary hand positions needed to create a shadow.
Once you know how to cast the desired shadow image, and you have chosen the target, you are now ready to begin. Make sure that the light is strong enough behind you so that the shadow is quite clearly visible, when projected. Join your hands together, so that a "shapeless" image is cast on the target. Then begin to think about the animal form whose image you are about to cast. Imagine how the animal moves and sounds. Picture it clearly in your mind. Imagine how it might "feel" to be that animal. As you do this, look upon the target. Then slowly begin to arrange your hands into the necessary positions, so that the animal image begins to appear on the target.
Once the image is clearly cast upon the target, then you must instruct the shadowform about the intent of the spell. You may either create a rhyme, or simply state the intended purpose. For example, a woman could charge a key chain with the wolf shadow, and then instruct the shadow that it will protect her from anyone who tries to physically assault her. When going out to her car at night, she would hold the key chain, and think of the wolf as though it were "escorting" her. The energy of the charge would tend to make her appear less of a victim, and an attacker would most likely not select her as his victim. Depending upon the personal power of the person casting the spell, it is even possible that a thought-form of the wolf might appear visible to the attacker, and he would move off, thinking that she had a dog with her.
Once the intent is firmly established in the spell, close your eyes and drop your hands to your sides. Say out loud that the spell is cast, then turn away from the target, and open your eyes. This is a very old form of magick, preserved in the Hereditary Tradition. This is the first time that I am aware of that this method has ever been made public.
Other methods of casting shadows may also be employed. A carving can be the source of the shadow; even an image cast from a piece of stained glass can be used quite effectively. I have a stained glass with a pentagram image on it; by placing a candle behind it, a beautiful image is cast. I have used this to charge a person with protection by letting the image fall upon them in the area of the head, heart, and genitals, and saying:
Strict charge and watch I give thee, that to this person, no evil thing approach, or enter in.
I did not make up these words, but I like to use them, and they are effective (actually, they are based upon a verse in Milton's Paradise Lost). Concepts can also be placed in your target-such as the blessing of a goddess-with a crescent Moon image, or of a god, with a stag horn image, for example. Whatever symbols are meaningful to you will be the ones which are most effective.
In closing, it is unwise to place within the target other images that are not harmonious to one another in Nature. For example, a bird and a cat shadow would not be proper. Several compatible images may be safely placed together. Should you wish to remove a shadow charge, then simply reverse the process. Place the shadow image on the target once again, and then begin to picture the animal moving away from you. Tell it to return to its own realm, and then slowly move you hands together, allowing the shadow image to collapse. Close your eyes at this point (after you have seen the image collapse) and drop your hands to your side. Then open your eyes, and look at the target. Everything is now as it was before the spell was cast.
ENDNOTES
1. Leland, Charles. Legends of Florence, Macmillan and Co., 1895, page 237.
2. Legends of Florence, 1895, page 244-245.
3. Legends of Florence, 1895, page 244.
The Book of Strega