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Altar for Diana

Altar for Diana

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Roman altar for Diana, goddess of hunting, about 200 CE, marble, Ny Carlsberg Glyptotek (Copenhagen, Denmark). MAde with ReMake and ReCap from AutoDesk.

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All The Ways History Has Repeated Itself With Meghan And Diana

In many ways, Meghan Markle is like no British royal who came before her. While historians are still debating whether she's the first British royal of color, she's certainly one of a very, very small handful — and as a result, she's endured a barrage of racist media coverage. Beyond that, the Duchess of Sussex is an American divorcee and Hollywood star, which is a tabloid-invented scandal in and of itself. She's an activist, who isn't well-suited to gritting her teeth for the sake of the Crown, and she rose up from modest roots. After all, Markle closes her own car door, which is apparently a rare feat deserving of headlines.

Despite the media's attempt to paint Markle with a distinct sense of otherness — especially after she and Prince Harry stepped away from their royal duties — the truth is that she's not all that different from her late mother-in-law, a modern princess who challenged the royal's often antiquated traditions. In fact, though the pair were raised an ocean apart, the parallels between Princess Diana and the Duchess of Sussex are overwhelming. Here's a look at how Diana's history is repeating itself with Meghan Markle.


Diana: Antagonist or Quiet Hero?

Shakespeare juxtaposes loving desire and chaste austerity through the two deities Cupid and Diana. Cupid is “said to be a child” (I.1.238), “blind[ly]” (I.1.235) slinging fiery shafts at maidens to implant tenacious and sometimes self-destructive “fancies.” In contrast, Diana, the “reputedly hostile to men” [1] “virgin goddess of the moon” (MSND, 6), is presented as the antithesis to this amorous frenzy. This relationship is illustrated in Pompeo Batoni’s Diana and Cupid, painted in 1761, which portrays Diana keeping Cupid’s box from him in an authoritative and almost maternal manner. The painting interprets Cupid and Diana’s relationship in a similar way to how Shakespeare approaches it in A Midsummer Night’s Dream. Cupid and Diana are most distinctly juxtaposed through the herbs, loaded with powerful juice and mythological connotations, that Oberon and Puck use to control “fancies.” The pansy flower, or “love-in-idleness,” causes its recipient to “madly dote” (II.1.171). The name pansy, deriving from French pensée, implies a “capacity to produce dreams, illusions, even madness” (McDonald, xlii). The pansy’s herbal antidote, “Dian’s bud,” is a moniker for the plant Agnus Castus, which is also known as “chasteberry” because “the ancients believed [it] decreased one’s libido keeping one chaste.”[2] Just as the effect of “Dian’s bud” is antipodal to Cupid’s pansy, Diana’s influence on love and desire is the opposite of Cupid’s.

Because a “happy ending” in dramatic comedy is defined as “the satisfaction of desire” (McDonald, xxxiv), the audience is lead to root for the fulfillment of characters’ “wants despite mighty obstacles” (McDonald, xxxix). This structure establishes love and lust as heroes, and deterrents to desire as antagonists consequently, the playwright manipulates the audience to endorse Cupid and resent Diana. The male characters allude to Diana, and the moon as an extension of her, as a cold, un-feminine obstacle to love and happiness. Theseus, anticipating his wedding night, complains, “How slow this old moon wanes! She lingers my desires, like a…dowager long withering out a young man’s revenue” (I.1.4-6). Theseus resents “the moon,” Diana, for stalling his sexual satisfaction, and condescendingly compares her to a spiteful old woman getting in the way of a man’s rightful prize. Similarly, when Hermia refuses to “fit [her] fancies to [her] father’s will” (I.1.118), Theseus gives her a choice between the death penalty, or “to live a barren sister all your life, chanting faint hymns to the cold fruitless moon” (I.1.72-73). Theseus’s verdict reveals that men perceive a woman devoting herself to abstinence on “Diana’s altar” (I.1.89) as equivalent to death, thus defining the sole reason for female existence to be producing children for their husbands.

If we stop the analysis there, the comedic play appears to be horribly misogynistic. However, Shakespeare weaves in a level of sympathy for Diana, and to the seemingly clear-cut good and bad dichotomy between love and prohibition. He includes subtle moments where Diana is a loving, protective deity aiding women’s happiness. In Oberon’s story of the pansy, Cupid tries to “pierce” his “fiery shaft” through a “fair vestal,” but the arrow is “quenched in the chaste beams of the wat’ry moon,” a metaphor for Diana, before it can penetrate the maiden, and she continues on “fancy-free” (II.1.158-164). Later, when Titania is about to have sex with the “beast,” Bottom, she pauses for a moment, distracted by the moon: “The moon methinks looks with a watery eye…she weeps…Lamenting some enforcèd [i.e. violated by force] chastity” (III.2.192-194). In this scene, perhaps Diana, in the form of a “weeping moon,” is trying to warn Titania that she is about to be taken advantage of because of Cupid’s spell, or at least spark her intuition that something is not right about this union. Alas, the pansy is too strong, and Titania follows through with the act. Regardless of the neat wrap-up of the play with all the lovers happily together, Shakespeare adds a subtle level of complexity to the axiom that love should conquer all. Perhaps Diana is the benevolent force here, and following irrational and overwhelming feelings of love is not always the right answer.

[1] Findlay, Alison. Women in Shakespeare. London: Bloomsbury, 2014. Print.


Royal Wedding Guest List

Prince Charles and Princess Diana’s wedding was the first royal wedding to be held at St. Paul’s Cathedral in London since the 1501 nuptials of Prince Arthur (son of King Henry VII) and Princess Catherine. St. Paul’s massive interior was more suitable for hosting their 3,500 guests than Westminster Abbey, the traditional site of royal weddings like Queen Elizabeth II’s 1947 wedding to Prince Philip.

The guest list was not without drama. While all of Europe&aposs leaders were invited, some declined to attend. “The President of the Republic of Ireland declined the invitation because of disputes over the status of Northern Ireland,” says historian Carolyn Harris. “The President of Greece did not attend because former King Constantine of Greece, a cousin and friend of Prince Charles, was invited to the wedding with the title of ‘King,’” and “King Juan Carlos and Queen Sofia of Spain (born Princess Sofia of Greece, a cousin of Prince Philip) did not attend the wedding because Charles and Diana planned to board the Royal Yacht Britannia for their honeymoon in Gibraltar, which had been British territory since 1704 but was claimed by Spain.”

America was represented by First Lady Nancy Reagan. Press around the world reported on what world leaders wore, who they talked to, and where they partied in London leading up to the big day.

Charles, Prince of Wales, and his wife, Princess Diana, wave to the crowds following their wedding ceremony at St Paul&aposs Cathedral.

Jayne Fincher/Princess Diana Archive/Hulton Royals Collection/Getty Images


Explorer Notes/Diana Altaras


Diana Altaras is a United Republics of Earth (URE) Armed Forces pilot from the future.

Aberration Explorer Logs

Diana Log #1 (Aberration)

Diana Log #2 (Aberration)

At least the weather's holding up. We've had clear skies for three days now. It was a good idea to start giving people callsigns, too. Getting a new callsign from my squadron always made me feel closer to them, whatever it was. Hopefully it works with this bunch.

Diana Log #3 (Aberration)

This larger group we joined is way more organized. They've been setting up shelters, mining Element and establishing a perimeter for weeks. Not surprising. One of the leaders is URE special forces, after all.

Diana Log #4 (Aberration)

Of course, with my dumb luck, I didn't make nice with just any old Feddie. I unknowingly buddied up to Santiago. Yeah, as in the Santiago that's so famous he's only got one name, as in the guy who hacked into URE command one day and reverse engineered our latest TEK armor the next. That Santiago.

Diana Log #5 (Aberration)

I'm fully certified for TEK armor, so I've got a good shot at succeeding, and I'm pretty sure that my new buddy was the one who got the other Feddies on board. I was the only pick they could agree on.

Diana Log #6 (Aberration)

Santiago's been joking about how much I owe him, but he's more right than he knows. I promised to bring him some music for the ride back to civilization. Least I can do for that little nerd.

Diana Log #7 (Aberration)

Once I reported back, I took Santiago to inspect the barrier. He thinks it's also the culprit that's responsible for jamming our long range signals. So basically, as long as this barrier exists, we have no way to reach the outside world. We're completely isolated.

Diana Log #8 (Aberration)

Whatever's up there is what we need to take out.

Santiago says he can get us there by bypassing the security on one of the obelisk's platforms. Trouble is, we don't know what'll be waiting for us, and not everyone here's combat ready. So we're going to take the diplomatic approach and make our mysterious hosts a present.

Diana Log #9 (Aberration)

It attacked us as soon as we carted the package to the center of the platform. We were getting taken out so fast that we just set the bomb on a short fuse and made a break for it. Less than half of us managed to dive off of the platform in time, and I could feel the heat of the explosion as I fell.

Diana Log #10 (Aberration)

So yeah, turns out this entire landmass and everything on it is orbiting the Earth like some kind of artificial space island. Wild right? I'd appreciate the sheer insanity of that a lot more if this place didn't feel like it was falling apart.

Diana Log #11 (Aberration)

I guess some combination of the radiation that's leaking through the barrier and reflected sunlight is turning it into our own private hellscape. That's not exactly the kind of thing you want in your backyard, so the plan is to keep delving into these caverns.

Diana Log #12 (Aberration)

Weirdly, I keep coming back to my necklace, the Star of David one my mother gave me. Sometimes I catch myself reaching for it, forgetting it's not there. Why is that? I've never been too religious.

Diana Log #13 (Aberration)

After studying the obelisks in-depth, he's convinced that he can design an amped up version of their teleportation tech that can connect to more distant platforms. Specifically, it would be able to lock onto a signal we discovered a few weeks ago, one that's on a slightly different frequency than all the other obelisks we've detected. More importantly, it's far, far away from any of them.

Diana Log #14 (Aberration)

The size is a product of how far we need to travel. The greater the distance, the bigger the teleportation matrix needs to be. Of course, that means we'll also need a lot more power, but we've got a solution for that too: the obelisks.

Diana Log #15 (Aberration)

Every time I have to scale these stupid walls with climbing picks, I wish my armor's jetpack still worked, even though it hasn't for years. We never did figure out why they lost so much functionality after the catastrophe. Something new in the atmosphere maybe. It's still worth wearing when we brave the surface, but I just feel so slow in it.

Diana Log #16 (Aberration)

She caused a real stir when we first brought her back to base with her pet monster, but everyone's used to her by now. Honestly I think she trusts us way less than we trust her. She only seems to speak when she's doing chores, and she's always got one hand on that sword of hers.

Diana Log #17 (Aberration)

Whether she's learning how to operate holographic controls or working on her aim, she basically tries as hard as she can all the time, and she hates asking for help. Instead, she'll just scrunch her eyebrows and glare at whatever she's working on until she can think of a solution. It's kind of adorable, to be honest.

Diana Log #18 (Aberration)

So those abandoned structures that scout team spotted a while back? Well we're still not sure who left them there, but Santiago says that he's detecting the emissions from what could be hypercharged, crystallized Element shards in their vicinity. We need those for the Gateway Project's focusing lens, and we haven't been able to make them ourselves.

Diana Log #19 (Aberration)

I'm leaving this for the record, in the event of mission failure. We lost most of the team soon after arriving in the area of operations. Roho and Flynn got picked off as we neared the target. Halsted and I are the last remaining assets.

I was able to confirm that the target is in the ruins, and have encoded the coordinates within this message. I'm going to leave this behind, and then we'll make one last run at it.

Diana Log #20 (Aberration)

Typical, right? So in exchange, I finally learned what Juzi meant - Tangerine. This whole time, she's been calling me Tangerine! Definitely not the worst ginger centric callsign I've had though, and totally worth it for that look on her face. She was so embarrassed!

In that moment, I almost leaned in and. but I don't think she understands how I feel. Not completely. Not yet.

Extinction Explorer Notes

Diana Log #1 (Extinction)

I remember drawing that monster away from the gateway, a ton of pain, and Mei's face looking down at me. I held onto that sight as long as I could, until the darkness crept in, and I fell into a cold void. The rest is kind of fuzzy, but I remember a voice.

Diana Log #2 (Extinction)

This is so weird, especially since it's never happened to anyone before. We lost plenty of people back on that station, but not one of them ever came back to life. Death was a one way ticket, period. So why am I the only exception? Is it that voice, did it do this to me?

Diana Log #3 (Extinction)

I've got some basic equipment together now, and based on my surroundings, I'm definitely planetside. That means if the Gateway Project was successful, then Santiago, Helena, Mei-Yin and the others are somewhere out there. All I have to do is find them.

Diana Log #4 (Extinction)

My creepy, unseen benefactor's being pretty vague though. When it comes to dealing with these security drones and general survival, I'm on my own, but that's nothing I can't handle. This city's got tons of cover if I need it and good vantage points for scouting ahead, so shaking off any bogeys shouldn't be a problem.

Diana Log #5 (Extinction)

A lot of people fought real hard to keep something like this from happening, myself included, and turns out the apocalypse showed up anyway. I always thought we'd stave it off myself. I guess I just believed in us, you know? Humanity, I mean.

Diana Log #6 (Extinction)

Diana Log #7 (Extinction)

It's not right that you died here all alone, after everything you did. The Gateway Project gave us hope for the future, and you made it possible. Honestly I'm not sure why the voice would bring me back and not you too. It doesn't seem fair.

Diana Log #8 (Extinction)

It won't take long to get used to the controls, either. They were clearly designed so that even someone without a single hour in a simulator could take the wheel on a more basic level, but there's a lot of advanced settings here too. I'll have it dancing like a fifty ton ballerina in no time. It's enough to make a girl giddy.

Diana Log #9 (Extinction)

I'm competent enough with TEK armor and a rifle, but if you really want to see me make magic happen, put me inside a cockpit. I might specialize in fighters, but I've aced all the simulations with just about every vehicle in the URE arsenal. It doesn't matter if it's got wheels, wings or legs, with a machine like this at my fingertips, there's no such thing as impossible.

Diana Log #10 (Extinction)

As for the survivor, I knew who she was before I even saw the hypnotic tempest in those eyes. Who else stands so tall in the face of death? Who else could call me here from so far away? Who else but you, Li Mei-Yin?

Diana Log #11 (Extinction)

I haven't asked what happened yet, but I can see the hell she dragged herself through in the rings beneath her eyes and the bruises on her body, not to mention her damaged MEK. Just how many battles has she fought out here all by herself?

Diana Log #12 (Extinction)

In other words, they were knee deep in some seriously trippy shit. Of course, I was recently resurrected and hear a voice in my head, so I can't exactly throw stones.

Diana Log #13 (Extinction)

If you ask Mei, it shouldn't be. After all she went through with Helena, I get why she'd be cautious when it comes to unseen, prophetic entities, but this is the same voice that led me back to her. I can't dismiss it now.

I should probably stop calling it a voice though.Thinking about it, it doesn't really make a sound. Its words just. appear, like they were written in the back of my mind by an invisible hand. What should I use instead though? Does it have a name? Or maybe. did it used to?

Diana Log #14 (Extinction)

See, while any good pilot has to watch their wingman's six, they also have to trust their ability to handle themselves. If she's constantly trying to save me, our MEKs are going to end up stomping on each other's toes. I think she's starting to understand that.

Diana Log #15 (Extinction)

But based on what Mei's told me and the hidden systems I've discovered inside this puppy, Santiago had already built the perfect counter for them. Originally, there were four of these MEKs, and they were designed to fuse together into one giant, badass superweapon

Diana Log #16 (Extinction)

Whatever force is guiding us along bought itself a lot of trust by reuniting me with Mei-Yin, but now that our destination is within reach, I'm starting to get curious. What does it want us to do when we get there? Are there other survivors that we can contact with those arrays?

Diana Log #17 (Extinction)

Rows of consoles cascade out from middle of the room, and the walls are lined with massive screens. While everything here's wearing a fine coat of dust, I see lights flashing and status reports flowing. This entire facility is still operational, and it's the heart of everything we've been through - the space stations we were on are all being monitored right here!

Diana Log #18 (Extinction)

Now that I think about it, there are a ton of Element veins out there, way more than I remember. It must have spread across the whole planet. Based on these readings, it even infected the lower layers of its crust. After witnessing what raw Element can do to a living thing first hand, I can see how that'd be a problem.

Diana Log #19 (Extinction)

Normally I'd be all gung ho about an impossible mission like that, but the number of titans we'd have to take down is nuts. Mei and I might be a killer power couple, if I do say so myself, but even we'd die of old age before we ever made a dent in the their population.

Diana Log #20 (Extinction)

On the one hand, after going through the ringer, it's awfully tempting to settle down and just enjoy the apocalypse together. On the other hand, I've got a resurrection to repay, and keeping Earth from dying seems kind of important. I do live here, after all.

Who am I kidding? I was always voting for the dangerous option. As for Mei-Yin, I guess she's actually been hearing said guide herself these days, and amazingly that's all the convincing it took. She says she trusts the way it speaks, almost like it's familiar to her.

Diana Log #21 (Extinction)

As big as those other titans are, they're puny compared to this guy, and according to Mei-Yin, he packs a punch to match. She would know, she fought it before - when it killed all my other friends. While that means I owe him some retribution, it also means we're seriously outgunned.

Diana Log #22 (Extinction)

But if we can get them up and running somehow, then we can fuse all four of them and form Santiago's super weapon! With the damage these MEKs have sustained and only two pilots, it won't be at full capacity, but lucky for us I'm the top ace in the whole damn URE. As long the engine's running and the guns are loaded, I can give us a chance.

Diana Log #23 (Extinction)

I can't mourn just yet though. There's no time, and I don't want to give Mei any more reasons to blame herself. What happened wasn't her fault, she made the right call. If she'd thrown her life away instead of escaping when she had the chance, we wouldn't have a shot at payback at all. So for now, we've got to put the blinders on and keep each other focused

Diana Log #24 (Extinction)

We've got time to spare too. Our guest of honor is still a ways off. He's slowly lumbering towards us, like it's inevitable that we're going to roll over and die for him. Well guess what, asshole? The only thing that's gonna roll here is that nasty looking head of yours.

Diana Log #25 (Extinction)

Even though it's only at 70% capacity, it should still be enough to take that titan down. That sword looks like it could cut a skyscraper in half, and its defensive systems can take a serious beating.

Diana Log #26 (Extinction)

In other words, when we enter combat, I'm going to assume control of 75% of the MegaMEK's systems. It'll be a mental and physical strain, but I'm prepared to take it. Like I said, it's my turn to carry the load, and I'm in my wheelhouse here. If there's anyone who can handle this, it's me. Not like there's time for another plan anyway - the titan's almost here.

Diana Log #27 (Extinction)

When that moment came, we turned up the heat. From there on it was a high octane slug-fest. Our clashes felt like they might shatter the ground beneath us, until we finally landed a critical blow to its torso.

Based on the way it flailed and hissed when we struck, I don't think it had ever been wounded so badly. So in the end, that was enough to send it packing, nursing the giant, bloody X that we carved into its chest.

Diana Log #28 (Extinction)

By the time I exited the cockpit, my nose was bleeding, and hours later I'm still wobbly on my feet. Controlling three MEKs at once in a sustained combat scenario should definitely be filed under "don't try this at home," and trying to pilot all four is probably a fast track to an aneurysm.

Diana Log #29 (Extinction)

Now it's just me, Mei-Yin and the long road ahead. Well, and the faceless presence that's guiding us down that road of course. I've already started to feel the tugs pulling me towards Arat Prime.

Diana Log #30 (Extinction)

If you're reading this, then like us, then you managed to break free of the ARKs. So welcome to Earth, kid. Hope you like ravaged hellscapes, because the bad news is you’re late to the apocalypse. The good news is you can do something about it.

The two of us are going to do what we can to help, but it won't be enough. You see those huge, ugly monsters out there? They need to be cleared out, or Earth can't recover. Also, if you see one with an X shaped scar on its chest, do me a favor and flip it off before you finish it.


The Ancient Pagan Temple of Diana, Nemi

The temple of Diana Nemorensis was preceded by the sacred grove.

Diana of the Wood or Diana Nemorensis was a Roman goddess.

Later was Hellenised and conflated with Artemis.
The temple of Diana Aricina or Nemorense was a huge complex located in Nemi.

It covers an area of 45,000 square meters, supported by triangular substructures and by semicircular niches with statues and an upper terrace.

The platform is composed of two Doric porticoes, one with columns plastered in red, the other with columns of dark gray lava stone there were statues, rooms for priests, accommodation for pilgrims, cells, a temple, baths, and even a theater.

Today, a part of a portico, one votive altar, and some columns are still visible.

The rest of the temple, which spreads over an area of over 5000 square meters, is still waiting to be excavated.

The higher parts, such as niches, that emerge from the ground for several meters show the size of the original temple.

The temple was abandoned with the advent of Christianity and partly robbed of marbles and decorations the forest gradually covered it almost completely and it was forgotten for centuries.

Archaeological excavations began in the seventeenth century by mostly amateurs and foreign scholars, and for this reason statues and relics are scattered in many different museums.

Source: temple of diana,pagan temple,roman history,nemi,nemi travel,nemi trip,lazio,Diana Nemorensis


Research on the Goddess Diana

Diana . . . The Roman Goddess was known by many names including Queen of Heaven the Great Goddess Lunar Virgin Mother of Animals Lady of Wild Creatures and the Huntress. Diana as the Roman Moon-Goddess was originally worshipped on the mountain Tifata near Capua and in sacred forests. Later she was given a temple in the working-class area on the Aventine Hill where she was mainly worshipped by the lower class (plebeians) and the slaves, of whom she was the patroness. She is often depicted carrying a bow and arrow and wearing animal skins or accompanied by animals.

When the Greek city of Ephesus fell to Roman rule, Goddess Diana was merged with the Greek Goddess Artemis. This is most likely due to the fact that around the time of the Roman empire, Romans would allow the places they over took to continue worshipping their own Gods and Goddesses, incorporating those Goddesses into the Roman Pantheon. Artemis and Diana were worshipped at the same times historically and when the Great Greek Temple of Artemis was destroyed the Romans rebuilt it in honor of Diana and the myth of Goddess Diana of Ephesus began.

Stories of Goddess Diana are told form the beginning of Troy to the Christian Bible of King James in the scriptures of Acts and the gospels of Paul.

The multi-breasted statue of Diana at Her Temple in Ephesus displayed her capability to nourish all creatures and provide for them. Worshippers adored Goddess Diana so much that the only way the Christians could rid the people of their Goddess was by assimilating her into their new religion. Thus Ephesus became a place of Mary, Mother of God. The church even invented stories of Mary living at Ephesus and being entombed there.

In Babylonia, and in the nation of Assyria, she was known as “ISHTAR” The Phoenicians called her “ASTARTE”. The Israelites knew her as “ASHTORETH”.

Diana was also the goddess of the Latin commonwealth where She rule with Her brother Lucifer. Lucifer being a Latin word for “Light Bringer”.

In Italy the old religion of Stergheria embraced goddess Diana as Queen of the Witches. Witches being the wise women healers of the time. Goddess Diana created the world of her own being having in herself the seeds of all creation yet to come. It is said that out of herself she divided into the darkness and the light, keeping for herself the darkness of creation and creating her brother Lucifer, the light. Goddess Diana loved and ruled with her brother Lucifer, the god of the Sun and Moon.
As time went on, the Earth was created and Diana descended to Earth, as did her brother Lucifer. Diana taught magick and witches were born. One night using witchcraft in the form of a cat, His most beloved animal, Diana tricked Lucifer. She gained entrance to His chamber where She seduced Him. From this union a daughter was born. Goddess Aradia.
In other versions of this myth we find the similarities the Christain tales take as their own in attempts to dispel the Goddess.
The first being, Lucifer who is so proud of his beauty, and who for his pride is driven from the Paradise of Goddess as is the tale of Lucifer falling from Gods grace.
The second being Goddess Diana also sends Her daughter Aradia to live as a mortal and save the misfortunate people of Earth as does God send His son Jesus to live as a mortal and save the people.

As pagans my sisters, Goddess Diana is the eternal Mother of all creation, the first that is and the last that will be. She is the Huntress of the forest seeking means of survival. She is the call of the wild, the beating heart of the forests, the animal spirit within, urging us to remember our origins. She awakens nature within us that we remember to feel the rustling wind through our hair, to hear the howling of a wolf or the echo of a voice in the forest. Goddess Diana calls to us to let our animal essence out and hone our inherent sensibilities. Dance and sing to the moon, run until our heart pounds to the top of a hill, to take a swim in a creek, roll around in the grass as we once did as a children, or just gaze upon the stars in wonderment knowing all the while that Goddess Diana is within us, sharing sharing our journey.

As with the Christian invasion into the old religion , we too are told as women what is right and wrong. We are told what is the correct thinking to blend into a society that denies us our truth. Not tonight my sisters, tonight we pray to the Goddess Diana that you never forget the wonders of creation, the joy of being alive, and the importance of being a woman. Tonight we pray to Goddess Diana to be filled with Her strength to survive the challenges that would steal our dreams. under Her Full Moon we are alive in Her reflection. As a Circle of women we pray to Goddess Diana to grants us development and change within ourselves. As we embrace Her energy that is the vibrations of the universe that lives within us let the hunt begin. Let us seek out and tame the resources that is the beast and the forest of our lives. As goddess Diana let us be the huntress of our path. Tonight as women we say “Great is the Goddess Diana and Great is the Goddess in Me”.


Altar for Diana - History

Artemis is the ancient Greek Goddess associated with wild nature, witchcraft and women&rsquos mysteries. She was known to the Romans as Diana.

Artemis was born on the Island of Delos, the illegitimate daughter of Zeus and Leto. Right after She was born, Artemis helped Leto give birth to Her twin brother Apollo. Apollo&rsquos delivery was difficult, and so Artemis became known as a Goddess of childbirth. Artemis as Goddess of the Moon and femininity is the perfect complement to Apollo who is the God of the Sun and masculinity.

Zeus granted Artemis her greatest wish that She never would be forced to marry. Artemis is a Goddess of independence and autonomy Who is ruled by no one but Herself.

Artemis also received a bow and arrow, a pack of hounds and nymphs to accompany Her. The Great God Pan Himself gave Her the hounds. Artemis as Mistress of the Hunt protects the wilderness and sacred hunting rituals. She spends Her time roaming the forest, meadows and waters edges. She can bestow or remove fertility from plants, animals and humans according to Her will. Artemis is also able to take the lives of animals and people and is the Gatekeeper who decides who lives and dies.

In Her Moon Goddess aspect, she carries torches or has stars circling Her head. She wanders the wilderness by the light of the Moon or by torchlight. The Moon is Her spinning wheel upon which She spins the fate of human beings. Artemis is associated with the Moon trinity of Selene who rules in Heaven, Artemis who rules on Earth, and Hecate who rules the Underworld.

Artemis can be a stern and unforgiving Goddess, especially towards men. She can be merciless to any who offend Her. She favours women, but will also punish them if they fail to do Her bidding, but She will also act quickly to protect and rescue those who call for Her help. Artemis was invoked by women in labour and She is the protector of youth, especially of young girls.

Artemis wears a short tunic, carrying a silver bow and arrows, and a shield bearing the image of a wolf. She has a chariot which is drawn by stags.

GEMSTONES &ndash Moonstone, pearl, quartz crystal

REALM &ndash Wild groves and forests, freshwater lakes, marshes, springs, streams, rivers

SACRED SITES &ndash The Arcadia region of Greece, the Island of Letos, and Delos

TREES &ndash Walnut, willow, cedar, myrtle, fir, oak, wild fig, bay laurel

PLANTS &ndash Mugwort, wormwood, southernwood, tarragon

ANIMALS &ndash All wild animals, bees, bears, boars, deer, dogs, dolphins, goats, fish, wolves, and cats

SACRED TO ARTEMIS &ndash Menstrual blood

SACRED DAYS &ndash The 6 th day of each month

ALTAR DECORATIONS - Pictures of boars, boar tusks

OFFERINGS &ndash Offerings on behalf of wild nature and animals, honey cakes. Place offerings on the Altar or at crossroads at midnight or noon.


Diana, planet

The colonists arrived in 2111 OTT with the Super ark Thermopylae. The colonists founded Leonidas Colony which developed in a vibrant and exceptionally well managed community.

The colonists calling themselved D-Spartans (Diana Spartans) and continue to live under very strict conditions that promote warrior values, honor, toughness. D Spartans make no difference between male and female and honor whomever is able to live and maintain the strict rules.

The main income is generated by mercenary services, security jobs and Union military membershipn (Usually Marines) D Spartans sent most of their earnings home to the communit treasury, maintained by the King.

There is some agricuilture but not in large enoug scale to export.

There is a Class D Space port [2] and monthly space bus service. The space port concourse contains all commercial businesses, the Union school and clinic. There are no shops, restaurants or similar commercial venues elsewhere.

Non Spartan visitors are not prohibited to leave the space port. New Colonists are not disencouraged, but must adhere to the same rules as all other Spartans. Most visitors leave very fast. 


“Diana or Christ?”

In 1896 the Christian Science Board of Directors gave Mary Baker Eddy an engraving of “Diana or Christ?” as “a token” of their love. 1 This piece from our collection was the work of the British biblical painter Edwin Longsden Long (1829–1891). 2

The son of a painter with the same name, Long was born in Bath, England. He traveled to London to study at the British Museum and was later a pupil of the art educator, painter, and critic James Matthew Leigh. Long began his career as a portrait painter, but later gravitated toward scenes inspired by “the Orient,” 3 including “history paintings.” These works often portrayed a particular moment in time—usually the critical junctures in a story— chosen to teach an ethical lesson. Popular from the sixteenth century onward, they treated historical, allegorical, biblical, and mythological themes. 4

View of 0.1254 in its original frame from Mary Baker Eddy’s home.

“Diana or Christ?” depicts an early Christian woman facing a difficult choice. Will she deny her faith and offer incense on the altar of the goddess Diana (the protector of the ancient city of Ephesus, whose effigy gazes down at her) and go free? Or will she choose to follow Christ and face martyrdom (with the arena of the theater of Ephesus, and the lions, a mere few feet away)?

The caption explains: “Let her cast the incense,—but one grain and she is free.” The woman’s gaze is turned heavenward and her hand rests on her heart, as if she sees something beyond our frame of reference. This is a possible allusion to Stephen, who saw “the glory of God” before he was stoned to death. 5 We assume that she will choose Christ the scene captures the moment when she turns away from the pagan altar. At the same time, external pressures—like the restraining arm of her lover—are quite apparent. Dozens of armor-clad soldiers stand behind her, and the Vestal Virgins, witnesses of the torture of Christians in the Empire’s amphitheaters, stand to the left, their arms crossed.

Thanking the Directors for their gift, Eddy identified the relevance of the painting’s lesson in her response to them:

Your fine engraving so illustrating the struggle that quotation of yours points to arrived to-day. It is grand and grave, a fit companion of “Daniel’s Answer” [by Briton Rivière (1840-1920)]. “Diana or Christ” is very suggestive of each day’s experience in the true progress of a Christian Scientist. I value your gift beyond pen to express…. 6

The library at Pleasant View, c.1900, P06311

Both “Daniel’s Answer” and “Diana or Christ?” seem to echo words Eddy penned in Science and Health with Key to the Scriptures:

If you launch your bark upon the ever-agitated but healthful waters of truth, you will encounter storms. Your good will be evil spoken of. This is the cross. Take it up and bear it, for through it you win and wear the crown. Pilgrim on earth, thy home is heaven stranger, thou art the guest of God. 7


Watch the video: Setting Up Your Altar. Witchcraft 101 (December 2021).