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Magdalene Mysteries, by Seren and Azra Bertrand

Magdalene Mysteries: The Left-Hand Path of the Feminine Christ, Seren Bertrand & Azra Bertrand, M.D.
Bear & Company, 978-1-59143-346-0, 525 pages, 2020

Magdalene Myserties: The Left-hand Path of the Feminine Christ by Seren Bertrand and Azra Bertrand is a deep dive into Mary Magdalene, viewing her from Biblical, historical, and mystical perspectives. This well-researched book invites the reader on a pilgrimage to the Rose by journeying through three portals: the Magdalene Chronicles, the Magdalene Codex, and the Magdalene Vision Quest. These portals form the basis of the sectioning of the book, with each portal offering in-depth exploration of the topic. The authors write that “a key to our journey into the Magdalene Mysteries is to understand the true left-hand path of the goddess; and that Mary Magdalene…was the lineage holder of this sacred tradition.”1

Before the reader enters the portals, the authors provide their “love letters,” each offering individual writings on their initiations/encounters with Mary Magdalene, with Sara writing of meeting Mary Magdalene and of the sacred masculine vision and Azra writing about the Holy Whore of Sophia. The book then proceeds to “explore a radical, forbidden version of Mary Magdalene as a priestess of the Womb mysteries.”2

I was drawn to this book to explore the multi-faceted Mary Magdalene. Having been raised a Catholic, I initially only knew of Mary Magdalene as the prostitute, carried into my teen years with watching Jesus Christ Superstar where she was again portrayed in this role. I later became an adjunct instructor of Art History, and again, my encounters with Mary Magdalene in painting and sculpture again had her portrayed as a prostitute. As I began reading sources other than the Catholic church (!) I was met by a powerful woman, a trusted apostle of Jesus. I needed to learn more, and this book provided a compendious accounting of Mary Magdalene. 

Portal One, the Magdalene Chronicles, details Mary Magdalene’s lineage, starting with the “ancient mothers” in Sumeria. The chronology includes mermaids and the primeval water dragons, Inanna, and Asherah. It was illuminating to read of this lineage of the powerful woman, the vessel, the womb. The authors then transition to Mary Magdalene’ story of the Feminine Christ, looking at the feminist ministry of Christ, whether or not Mary Magdalene and Jesus were married, and her place at the crucifixion and resurrection. The first portal concludes with churches linked to the growth of churches in Europe linked to Mary Magdalene. 

The main focus of Portal Two, the Magdalene Codex, is an in-depth study of the Ghent Altarpiece, created by Jan Van Eyck, from 1426 to 1432. The authors approach this work “as both a pilgrimage and Grail Quest.”3 I found this section fascinating. I was familiar with the Ghent Altarpiece and taught about it in my Art History classes from the typical perspective of the religious symbolism in the painting such as the lamb symbolizing the Lamb of God. I taught about perspective, the place of patrons present in the piece, the role of an altarpiece in a church, etc. The authors, however, offer a complex and compelling distillation of the altarpiece, focusing one’s attention on the positioning of images to create the “position of birthing and sacred sexuality.” (plate 15). I did need to sit a while with the intimation that Van Eyck inserted an heretical message in the work. 

The authors turned next to Leonardo da Vinci’s painting of the Last Supper. I will admit that I never “bought” the explanation that the feminine figure to the side of Jesus was John the Evangelist. I am in agreement that, after having read about the important place of Mary Magdalene in the life of Jesus, that this image was indeed that of Mary Magdalene. The authors write that da Vinci was also “connected to the underground streams of the feminine mysteries.” 4 I imagine that these artists kept the need of art patronage in the forefront as they created multi-dimensional works of art with levels of meaning. 

The belief that Mary Magdalene was seen as a “dangerous figure” threatening to usurp masculine power, led to her portrayal as a “less than,” a whore, non-starter. The second portal closes with a return to the Ghent Altarpiece, where the authors write that Van Eyck “presents an entirely new, and at the same time ancient, vision in which the feminine is restored.” 5 I found the second portal so very fascinating, given my background in Art History. It’s given me a desire to develop an art history course on Mary Magdalene. 

The Third Portal, Magdalene Vision Quest, focuses on the pilgrimage to the Rose through “stories, oracles, and personal rituals.” 6 In the chapter Honoring the Motherline, Mary Magdalene as the “spirit keeper of the womb” is investigated. Seren writes about her own opening up to the path of Mary Magdalene and the goddess path. A personal favorite of mine was her writing about her pilgrimage to Glastonbury in England, a place I was drawn to visit as well. It is hard to adequately describe the otherworldly feeling of Glastonbury, the multidimensional feeling of space and time. Sere writes about the chalice well and its red flowing water and Glastonbury Abbey built on the site of an ancient sacred site devoted to the divine feminine and “known in local lore as the ‘vagina of the birth goddess.’”7

Seren recounts how Magdalene directed her to visit Iona, a remote Scottish island in the Hebrides. I was beginning to feel a connection both to Magdalene and Seren as Iona is a place that I find myself constantly drawn to read about and to most definitely visit post-pandemic. She continues by writing about the ancestral wise witches and the death of her mother, the mother of her “birth womb.”8 She movingly describes the graveside service she led for her mother. “As my mother’s womb had birthed me into this world, now I midwived her back into the womb of Mother Earth, for her rebirth into the Spirit world.”9

The Third Portal section contains rituals that the reader can perform, such as a Rose Ritual or the Anointing of the Moon ritual, a Mermaid ritual, and a Black Rose rituals. The rituals all contain references to an element, a ministry (such as cleansing), archetypes (such as Aphrodite), colors, and sigils (like a chalice). I have not yet taken the time to participate in a ritual, though, but the moving descriptions accompanying each ritual will draw me in sooner rather than later.

The book concludes with an invitation to return to the “dynamic Wild Feminine” which is “not limited to the story of one person or priestess – it is a living, vibrant frequency within everyone, calling to be remembered and embodied.” 10 Seren’s prayers to Magdalene are the final pages of the book. 

The book contains numerous images and illustrations to support the writings, including prehistoric clay tablets and sculptures, rich reproductions of pre-Renaissance and Renaissance tapestries, painting, and sculptures, and 20th century art including the image of a stained glass window in Sheffield, England in which Mary Magdalene is depicted as holding her hands in the “womb mudra position.” 11

Magdalene Mysteries offers a perfect combination of historic information across millennia along with the personal interactions of the authors with Mary Magdalene. It is a book to be read over time, allowing the information to seep in. It reads as a pilgrimage, and like all pilgrimages, time should be taken to allow the path to reveal itself to you, to allow yourself to open to revelations and notice the changes that occur as a result of the pilgrimage. The book is a pilgrimage to the Rose, and as such, invites the reader to open up slowly to Mary Magdalene, much like a rose itself that slowly opens, moving from a bud to a flower in full bloom, layers of beautiful petals.  It is a comprehensive introduction to Mary Magdalene to those new to the subject and also a deep-dive for those wanting a deeper interaction with Mary Magdalene. I highly recommend this book and encourage the reader to walk the path of pilgrimage to the Rose with these highly informed and passionate authors.

The Spiritual Roots of the Tarot, by Russell Strugess

The Spiritual Roots of the Tarot: The Cathar Code Hidden in the Cards, by Russell A. Sturgess
Inner Traditions, 1644110563, 368 pages, 2020

In The Spiritual Roots of the Tarot: The Cathar Code Hidden in the Cards, author Russell A. Sturgess presents the story of a medieval group of Gnostic Christians who are later referred to as the Cathars. The Cathars originated in France in the 11th century.  Not well liked by the Catholic Church, Cathars were considered a threat and were removed from Western Europe by the Catholic Church around 1350.

They called themselves “Troubadours of God” and their theology was based on the Beatitudes from the New Testament Sermon on the Mount. They lived a life based on agape love and also espoused a theology of duality, one where both good and evil existed.   Their beliefs professed a “formula for escaping the world of the evil God and the journey that one had to undertake to return to the Kingdom of the good God.”12

No one really knows how the Cathars worked together to preserve the mysteries of this formula, which was their program of ascending to the good God. Sturgess admits that it is unlikely that the Cathars produced any tarot cards. However, they were weavers and may have woven small tapestries with the symbols of their theology or created small paintings of the symbols.  None of these remain due to the Crusades and Inquisition — all such artifacts were destroyed. 

One of their key tenants was the idea of “being a fool for the sake of Christ.”13 The Fool’s Cap symbol and watermark would have been a mark of the Cathars. And, of course, the first card in the Major Arcana of the Marseille Tarot, as well as many other decks,  is a Fool.

What interested me most about the concept of this book was the melding of religious and metaphysical theologies. The idea that a religious group of Gnostic Christians could have hidden symbols that show the way to God in miniature paintings or small stained glass images that later became tarot cards is intriguing! When you consider that the clergy was among the few who were able to read and write in the 11th to 13th centuries, you might begin to understand their role in preserving these symbols.

The Marseille Tarot appeared in the 17th Century and told the Cathars’ story of the Fool and his transformative journey to Christ. Sturgess shares a complete history of the tarot and features many color plates of Major Arcana cards in various styles of cards.  One plate that I found fascinating follows the Fool’s Journey as the Major Arcana cards are laid out in an infinity symbol shape (Plate 30, The Cathar Code key, the cards by Jean Noblet, circa 1650).

Sturgess provides a thorough review of each of the cards of the Major Arcana, sharing key symbols, their meanings and how the cards both differ and mirror each other. My birth card is The Empress, so I was especially interested in learning more about this card. According to Sturgess, the symbols of the shield she holds, the cockscomb on her left side and her scepter all point to key characteristics of The Empress.  As both masculine and feminine symbols are shown, the Empress embodies the combination of male and female.

“This is a Cathar invention, symbolizing the hieros gamos, the sacred union of the masculine and the feminine that was Christ here on earth. In the world of the Cathars and that of the good God, when governed by Christ consciousness this was symbolic of the sacred marriage resulting in the androgyny of Sophia.”14

Sturgess goes on to say that the Empress is all about “the impending birth of the Fool, who is the Christ Incarnate.” 15

Another aspect that I found fascinating was the idea that there was no Devil card or Tower card before the 17th Century. These two cards may have been kept secret because of the role they play in revealing the “portal to the kingdom of Heaven.”16 And did you know that the Tower card was initially called the “House of God”? A common belief contends that the named changed to the Tower due to the structure shown in the center of the card.17

Sturgess employs a very scientific and thorough writing style. The photos of key pieces of Cathar history, the beautiful plates of tarot cards from various centuries, and important documents from antiquity make this story come alive.  After a history of the Cathars, Sturgess covers each card in the Major Arcana through eleven chapters of the Fool’s Journey. This book will appeal more to the Tarot aficionado, rather than a novice, who might be overwhelmed by the depth of the information.

I really enjoyed The Spiritual Roots of the Tarot and look forward to reading it again and doing an in depth journey into each of the 22 cards of the Major Arcana. My knowledge of the symbolism of the Major Arcana was enhanced greatly by what I learned. I’d recommend this book for Tarot teachers, expert readers, and others who study Tarot history and meaning.

To conclude, I will share one concept that Sturgess wrote that really touched me is the Cathars’ theology of love:

“The Cathars’ theology of love could be described in one word:  kindness.  As much as they understood the deep mysteries, in terms of how they were expressed in day-to-day life, it was simply about being committed to being kind.”18