The Heart of the Forest is a mystical hub of primeval activity with a life of its own. It spontaneously emanates, in periodic waves similar to those of a tide, the vital energy that allows the vegetation to miraculously grow thick and luxuriant, as in the Faranvil forest; but the beneficial magic that are attributed to the Heart, such as the repair of many wounds and mutilations or even the resurrection, are many properties, and which individuals of exceptional power can channel. Many of the circles of the earth manifest themselves to guard and defend these material manifestations of natural forces from whoever takes possession of them or corrupts them. The druids themselves interact with the heart, but without affecting it: they consult it to obtain the least divinatory responses regarding the events in the territory that it can feed, and they try to present the messages in the changes of energy that it does of its will to satisfy those needs to which the forest gives. alone fails to make a request.
The plants believed to be most important were mistletoe and oak. For the druids the mistletoe was considered sacred mainly because it had no roots, this connected it to the divine. It was believed to grow only on oaks and was thought to gather energy from them. It was collected with a golden sickle (moon-sun symbolism: the sickle is the moon, gold the sun), and placed in a white cloth by the druid also dressed in white. The Celts attributed many healing properties to mistletoe, which is why they immersed it in water and distributed it to those who needed it or to protect themselves from future diseases or spells. Pliny the Elder goes so far as to compare mistletoe to the philosopher’s stone of the alchemists claiming that the Celts used it as a universal panacea. The Celts believed that the world was supported and fed by an oak and would only end when its trunk broke.
Trees used by druids to carve spells are yew, hazel and rowan. The druids seemed convinced that each plant possessed its own vital energy that could be tapped for magical purposes. Mistletoe did a similar operation by drawing its energy from the plants on which it grew. The engraving connects us to the Ogham, a script used by the druids. The Ogham was invented by the God Ogma, protector of bards, god of writing, the one who “tied” magic to the object through it. He devised this alphabet to prove his generosity and ingenuity and because it belonged only to the wise Druids. Technically, the Ogham alphabetic signs were traced starting from the bottom up, as R. Graves states, to recall the growth of the tree and the elevation to the sky, the place populated by the Divinities. The Druids, in fact, believed that in this way the gods would hear and receive the message. The sticks on which the letters had been imprinted were then delivered to the flames, as a term and guarantee of the occurrence.


Spirals, step patterns, and key patterns are the dominant motifs in Celtic art prior to the Christian influence on the Celts, which began around AD 450.These designs found their way into early Christian manuscripts and works of art with the addition of depictions of life, such as animals, plants and even humans. In the beginning, the patterns were intricate braided cords, called braids, which can also be found in other areas of Europe, such as Italy, in the 6th century. A fragment of a gospel book, now in the Durham Cathedral library and created in northern Britain in the 7th century, contains the earliest example of true designs knotted in the Celtic manner. 
The researchers sought to uncover the secret of the intertwined knot patterns, to find out if there was any particular meaning behind each intricate design: in reality, the Celts did not assign special ideas or concepts to these patterns, but used them mainly as decorations on sculptures and jewelry or to fill in the empty spaces of the manuscripts in order to embellish them. However, the intertwined patterns reflect the Celtic belief about interconnectedness and continuity of life.
Celtic festivals convey the vision of the universe perceived and experienced between the visible and invisible of the ancient Celts. Ancient festivals that unfold in a path in which the earthly world and the world of the gods overlap. The seasons mark the rhythms of life and death; death is not the end but a new beginning. This concept is very important for understanding Celtic culture. In the cycles of nature there is the divine element, which permeates the entire life of the Celts. Celtic festivals are precisely the moments in which the doors open between the world of men and that of the Transcendent. On some occasions, according to the Celts, the spirits of the deceased and the inhabitants of the invisible world can communicate with the living. But above all, the cosmic calendar of Celtic holidays reveals a spiritual path that mirrors the cycle of death and rebirth, typical of the philosophy of the Druids.
The cosmic Hnot is identified in the annual cycle of events, established by the path of the Earth around the Sun. The celebrations were marked by the astronomical situations of reference, which constituted a common date for all members of the Clans and sanctioned the relationship between the individual and the natural environment in which he existed. Three celebratory elements can be identified in the intertwining of the cosmic Hnot: the path of the historical events of humanity, participation in common moments of collective management in its social aspect and the individual evolutionary path, called the “Golden Path”. The astronomical year of the cosmic Hnot can represent an important cultural element, useful for many reasons. It can show, in an always current and present way, the events of the Celtic tradition and the history of all humanity to remember, in its historical and spiritual sequence, the true identity of the European natives and give a tangible dimension to the great adventure they have. lived and are living.

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