Magic items - staves, sticks, wands. Do-it-yourself Santa Claus staff. How to make a staff from scrap materials? Making the staff

Here I will explain the symbolic meaning and give a description of the methods of making a magic wand, from the point of view of magical theory and its use in practice.

First of all, the magic wand is a symbol of desire, power and strength, with the help of which the magician maintains his influence on the sphere for which it was made and charged. For the magician, one wand or wand is not enough for his practice (not to be confused with a wand - an elemental weapon of fire), he will need several, depending on what he intends to do and what he intends to achieve.

In fact, the purpose of the magic wand is to help the magician project his desire into any realm or plane. He can get a wand to:

Influence any creature, regardless of whether it is a person or an animal.

Heal people and destroy negative, unfavorable influences.

Summon the highest Geniuses, demons or spirits.

We can say that the wand symbolizes the unlimited power of the magician. A person who has fully comprehended the secret of the magic wand, its influence, will never perform rituals without it. It would be too long to talk here about all the possibilities of the wand. For the diligent adept, these hints will suffice and serve as good guidance. It is enough to supplement this knowledge with reflections.

A magic wand is a capacitor, no matter what material it is made of. Charged with the desire of the magician, it expresses a certain power. It can be simple (common type of stick) or complex. All sticks carved from wood are considered simple. But only a special type of wood can be used for this purpose. For a wand, hazelnut or willow are suitable. Wish wand is a modification of a regular wand. Although a wand made of ash can be used for all magical actions, the magician should only charge it for the sake of healing people. An elderberry wand, thanks to its Saturn analogy, proves to be effective in summoning elementals or demons. A stick made from a willow twig can be used in all cases, as willow is a very good fluid condenser. The attentive reader will remember that lightning often strikes willow due to its high water content and absorption capacity. He will also be able to recall the old saying about thunderstorms: "They flee from the willow, looking for a beech tree." Oak or acacia wood is also an excellent material for magic wands. It really is not difficult to make a magic wand from any of the wood mentioned above. Trim the rod to approximately 3/8 or 3/4 inches in diameter and 12-20 inches in length, remove the bark and smooth the surface.

Often the preparation of a magic wand is limited to strict astrological periods and a magician familiar with astrology can use their knowledge to create the wand. But such a procedure is not necessary, since the magician knows that the stars can have some influence, but cannot force the wise to do anything, since he actually controls them.

Thus, the magician, if he wishes, can make a magic wand from any specified material.

If the stick is to be used for ritual purposes, a new knife is needed to make it. The knife can later be used for other ritual activities. But in no case should it be used for domestic purposes. If the magician is no longer going to use the knife in magic after cutting the wand from the rod, he must bury it to prevent anyone else from accessing the knife. Another type of magic wand is a steel magnet equipped with an insulating grip. Take a round steel bar (electroplated steel is best, i.e. steel for the magnet) approximately 12-20 "long with a 3/8" diameter, polish and nickel to prevent rusting. After creating a nickel-plated rod, the magician can magnetize it with an electric coil, much like a horseshoe or an electric motor is magnetized. The more attractive a magnet is, the better it works. This is a way to get a very strong steel magnet, which will not only do its direct work, but will also serve as the basis for an excellent magic wand in many magical experiments. First of all, you need to locate the north and south poles on the magical electroplating (electroplating) of the magnetic rod and mark both poles: the south pole with a minus and the north pole with a plus. To insulate the rod, its middle should be wrapped with a palm-width silk ribbon, i.e. about 3-4 inches. A rubber hose of the same length or a wooden handle specially designed for this purpose can also be used. Such a wand will allow the magician to cause many magical phenomena, of which only a few will be discussed here.

If the magician works with the electromagnetic fluids of the universe, intending to strengthen them in the physical world, then he must hold the wand so that his right hand touches the positive pole, his left hand touches the negative pole, and the ends of the rod touch the middle of the palms. After that, the electrical current from the universe must pass through the desired side of the rod into the body of the magician through visualization. The positive charge of the rod (odpole radiation) will thus increase, since it has the same vibrations, and will make it easier for the magician to store the electrical fluid in his body. The same procedure applies to the magnetic fluids of the South Pole. Also, a magician can enhance the electrical flow, having previously accumulated it in his body. In this case, he concentrates on the end-pole so carefully that by his actions he can directly influence the physical world. The same applies to the magnetic fluids that the magician can accumulate in his left hand, which is the negative pole. The middle of the bar, covered with insulating material, remains neutral. If the magician concentrates his intentions with the power of imagination in the compressed electromagnetic fluid of a steel magnet, the wand actually becomes magical. Any realization in the physical world becomes possible by means of the electromagnetic fluid that emanates in the form of brilliant light from the rod.

Initiates usually use this stick to influence sick people and all magnetic phenomena. This magical electromagnetic wand, according to the Law of the Universe, is an excellent capacitor with the same vibrations that are inherent in the Universe, but more subtle in their properties. A person, reflecting on this, will be able to find other methods thanks to the universal laws. A magician, for example, will be able to attract fluid from the universe like an antenna into his body or transmit it by the power of visualization to other people who are near him or at a distant distance. Soon, the wand will become an indispensable attribute of the magician, both for positive and negative forces, and will also help him create the necessary vibrations in the electromagnetic fluid.

In addition, there are sticks charged with a solid liquid or a combined capacitor. I could tell a lot about how to make such rods and how to use them then, but I will only talk about the most significant method for a magician in his work. Take a twig of old shrub, 12-20 "long and 3/8 or 3/4" in diameter, remove the bark and smooth the surface with sandpaper. Remove all of the inner wood so that you have a hollow tube. Place a stopper at one end of the tube and seal it with sealing wax, insert the condenser (liquid, if you like) on the other side and also seal that end of the airtight tube. The rod is now ready to use. If you want, you can use different types of wood, for example, ash, willow or oak rods, or hazelnuts. A rod, which initially does not represent anything, must be carefully and carefully processed in order to get a tube out of it. Instead of a liquid condenser, the same solid type of capacitor described in the Gate of Initiation can be used. You can also take a piece of blotting paper impregnated with a liquid condenser instead of a solid one, which, after drying, is charged and then rolled and placed in the hollow area of the rod. The disadvantage of wood is that it wears out after a while and becomes perforated under the influence of water. So it would be nice to replace it with a metal tube. Metals are best suited to conduct heat and electricity well. The best option of all is 3/8 or 1/2 inch copper tubing. To avoid any corrosion on the metal surface, the tube can be plated with nickel, chromium or tin before being filled with a capacitor. One hole must be sealed immediately, through the other the tube is immediately filled; this way you will get a first class magic wand, suitable for all purposes. A magician working with electrical or magnetic fluids, in turn, can make for himself a rod from a thin metal or steel tube, as indicated above, for working with magnetic fluids, and a copper rod for working with electrical fluids. A universal wand is created in the same manner, except that a nickel-plated brass tube must be used in place of a copper or iron tube.

A magician who is financially well-off can use, instead of a liquid condenser, a condenser made of semi-precious stones. For electrical fluids, he can use a copper rod, the interior of which is filled with atomized amber, the best capacitor for this type of fluid. To work with magnetic fluids, the magician can take a steel tube with rock crystal sprayed into it instead of a solid condenser. Again, rhinestone is a very good capacitor for magnetic fluids. You can also solder two small tubes to create one rod; in this case, one part of the rod is filled with pulverized amber and the other with rock crystal. The one-piece rod created in this way, divided in the middle, will contain two types of capacitors.

In this case, the two halves must be tied with a thin copper or iron wire passing through the centers of both tubes. The outside of such a rod must be nickel-plated. This ideal wand has a unique fluid capacity and will serve for any magical action. There is also another way: a wooden rod can be decorated with seven rings made of planetary metals. The rings should be placed on the rod in a kabbalistic order. That is, a gold ring (for the Sun) is placed in the middle of the rod, and there are three metal rings on each side. The following metals can be used for rings:

Lead - Saturn

Tin - Jupiter

Iron - Mars

Gold - Sun

Copper - Venus

Brass - Mercury

Silver - Moon

In addition, the rings can be engraved with the images of the geniuses of the aforementioned spheres. The use of such a wand, in general, will be limited to the incantation of the geniuses of these seven planets. When used in other cases, it will not outperform other sticks in terms of results. This is all the magician needs to know: he himself will be able to make a start from these examples and create something of his own. The shape and size of the stick plays a minor role. The most important thing in it is charging for practical use, which will be described below.

Charging a magic wand is done in much the same way as charging a magic mirror equipped with a fluid condenser. There are many ways to charge the wand. They all depend on what the magician wants to use her for. First of all, the magician must know that the magic wand is a symbol of his desire, his strength and his power and that it is a container similar to a fluid condenser of that strength, power, etc., which the magician not only possesses, but can also store this power at your own discretion. Of little importance is the fact that it is just a cut rod, appropriately processed, or it is a complex rod, saturated or filled with a fluid condenser.

Staves

Previously, it was believed that a magician is not a magician if he does not have a staff. This object of power serves as an extension of its owner and contains a strength equal to him.

The staff is made from a whole young tree or a branch of a large tree. In the first case, the tree is asked for consent to give its life and become a companion of the magician. And in the second, they ask permission from the tree to cut down one branch. But in either case, they do not do anything without the consent of the tree. Having received consent, they cut down the staff. After that, gifts are left to the earth or tree. These are usually grains, semi-precious stones and beer.

The branches are chopped off the staff and the top is chopped off, and then it is covered with a cloth, preferably natural (linen, cotton or silk) and carried home. Already at home, trying on the staff for the owner, it is shortened in height. The optimal size is from the nose to 5 cm above the crown of the head. Then they close up the places of the cuts with pitch or paint so that the staff does not get damp.
For 6 months, the bark of the staff is not touched. At this time, they talk in him, fill him with strength. They walk in the forest and teach them to be aware of everything around them again. Someone sings to him, someone rubs the bark with oils. What to do at this time and how to fill the staff with power is an individual matter of the magician.

After 6 months, the bark is removed from the staff. But not only the top layer, but all the way down to the middle. The bark must be removed with a knife. Either specially purchased for this purpose, or by their own workers. The process of peeling off the bark takes different time, someone does it faster, someone slower - here time does not matter anymore.
After finishing the removal of the bark, the staff must be sanded either with a file or sandpaper or sandpaper. The main thing is that the surface of the staff becomes smooth and does not leave splinters on the hands of the magician. After that, the staff can either be immediately coated with paint or varnish, or you can first cut or burn marks on it. The painted staff is decorated as the magician's heart tells him to. Either they insert a stone into the top, or decorate the top with feathers and beads - this is a personal matter.
In traditional ritual magic, the staff is dedicated and given a name. In witchcraft, the staff is given a name and is initiated in the process. You can dedicate a staff based on the traditions of your faith or from the traditions of the holidays - here, too, only personal preferences.

Sticks

Any branch of a tree up to a thumb is suitable for making a magic wand, not necessarily straight, it may also be curved with a ring. Whether this wand has just been cut from a tree or found fallen in the forest, if a magician likes it, you can make a magic wand out of it.
The future stick is shortened to the desired length, and it (length) is chosen by the magician himself. It can be a meter long stick and palm length. Usually they take an average length of 15-30 cm. After that, the bark is removed from the stick. Traditionally, this is done either with fingernails or sandpaper. I do not exclude the method of processing with a knife and a file, as was done with a staff. The only difference is that the bark is removed immediately in one day.
Then the magic wand is coated with varnish or paint. Before that, you can cut or burn marks or patterns on a stick. When the paint on the stick is dry, it is filled with energy. But they do not just pump it in, but try to create a vortex accumulator in the stick that will recharge it. This process takes not a single day. After that, the stick is rubbed with aromatic oil. You can mix several in a bowl or use just one. The oil is rubbed into the surface of the stick with your hands, this procedure binds the stick to the owner. After that, the magic wand can be used.

Wands

Wands are an attribute of ritual magic. Therefore, the creation of the wand is accompanied by a ritual.
To make a wand, take a fresh branch in the girth of an arm and 25-30 cm long. This branch is processed immediately. After removing the bark, it is rounded off from both sides and part of the wood is removed from the middle from both ends. It turns out the stick on the ends is rounded and thicker than in the middle. Then the wand is sanded. They put on it the signs of the gods, the name of the wand and the name of the magician. Moreover, the first name is applied to one end, and the second to the opposite, and the signs of the gods are located in the middle. The wand is not covered with paint, but rubbed with oils.
After that, a ritual of dedication to the gods is performed over the wand. Further, the rod is used in ritual and religious ceremonies as a redirecting force.
The wand is one of the main tools of magic. It has been used in magical and religious practices for thousands of years. It is an invocation tool. The Goddess and God can be called to observe the ritual with words and lifting of the wand.
It is used to channel energies, draw magical symbols or a circle on the ground to indicate the direction of danger, balancing on the palm or hand of a sorcerer, and even stirring a potion in a cauldron. The Rod represents the element of Air and is dedicated to God.
The traditional types of trees from which the wands are made are willow, elderberry, oak, apple, cherry, peach, hazel and others. Some sorcerers cut a wand as long as an elbow from a fork, as thick as a finger, but this is not necessary. Any fairly straight piece of wood can be a wand, even a dowel from a hardware store works well. I have seen beautiful wands carved out of it and painted.
The new consciousness (and trade) brought new prominence to the rod. Delightful, beautiful silver and quartz creations of various sizes and values are still in use today. They can be confidently used in witchcraft rituals, although wooden wands have a long history.
Don't worry if you don't find the perfect wand right away - it will come to you. I have been using long licorice root as a rod for a long time now and have great results with it.
Any stick you use will soon be filled with your energy and strength. Find one that you feel confident with and you will succeed.

What is the staff of Santa Claus? This is an irreplaceable attribute of the New Year. With his help, Santa Claus not only controls the snow, frost, but also lights the holiday lights on the New Year tree.

It is clear that Grandfather's staff should be special - festive, elegant, fabulous.

So let's get started.

We will need certain materials:

Any stick approximately 170 cm high, preferably resembling a shovel handle, no more than 5 cm in diameter;
Sandpaper - medium hard or sanding sponge;
Sandpaper type P1200, P1500, M14, M10, M7, M5 for final sanding.
PVA glue, can be stationery;
White acrylic paint;
Rice card or napkin. You can use a regular kitchen napkin if it has an appropriate New Year theme on it;
Scissors;
Artistic brushes - flat and thin;
Building brush (for painting a staff);
Acrylic varnish - transparent glossy (optional matte);
Stained glass or contour paints - white, silver.

Making the staff

Step 1

It is necessary to sandpaper the entire staff well: first hard, then softer - for polishing. This will remove excess particles, degrease the surface, make it smoother and more even.

Step 2

After that, you need to remove all the resulting dust from the staff with a soft cloth and treat it with PVA glue diluted with water in a 1: 1 ratio. Brush up and down the entire surface several times, trying not to leave extra drops.

Step 3

Wait until the glue is completely dry and apply acrylic white paint in 1 or several layers, the main thing here is that nothing shines through the paint.

Step 4

Cut the selected motif from a rice card or napkin.

If you work with a napkin, then you need to separate the two lower layers, and leave the upper one with the pattern - we will work with it.

If we are working with a rice map, then after the desired fragment has been cut out, we need to put the picture for a few seconds in a container with water at room temperature. The drawing will become softer and better "blend" with the surface.

Step 5

Once again process the staff with glue, but lubricate exactly the part that corresponds in size to the cut out picture.

Step 6

Gently, with a fan brush, press the drawing to the surface and, with movements from the center to the edges, remove all the air so that there are no bubbles on the surface.

Step 7

Do the same with the remaining pictures, covering the maximum area of the staff with them.

Step 8

When everything is dry, go through the pictures with PVA glue in one or several layers, this will fix the picture.

Step 9

Cover the entire product with acrylic varnish in several layers. Each layer should dry well!

Step 10

Apply stained glass or contour paints over the drawing. They should be applied in those places that you want to highlight, thereby giving elegance and festivity to your product.

Step 11

If desired, decorate the staff with additional elements: volumetric snowflakes, stars, a month. Anything at your discretion will create a New Year's mood and will be appropriate.

So, we made the staff of Santa Claus with our own hands at home in a very interesting way.

Craquelure varnishes can also be used in work, giving them an aging effect.

Try, experiment and you will succeed!

How to make a magic wand, staff and wand

There are four standard sizes of magic wands, made of wood and serving as an aid to concentrate and enhance one's own strength.

Staff - approximately in height

Large wand - two to three cubits

Small wand - one to two cubits

The Magic Wand is about half an elbow.

The smaller the wand, the more powerful it is, and the more careful processing it requires.

Rods can also be made of metal or stone, but since the labor intensity is much higher, I did not even try to find out anything about it. Before starting, you need to perform a purification ritual that matches your ideas. During processing, what you call fasting should be observed. Any psychotics are categorically excluded, even tobacco or coffee can disrupt your work.

For any wooden wand "own" tree is chosen (in my case it can be an oak or a hawthorn), in the general case, preference is given to a harder species. A young tree of suitable thickness is selected. For everything except the staff, part of the main trunk is suitable only without knots. The tree is cut with a feeling of regret for the ruined plant, and the confidence that your need is worth it. A minimum of tools are used, ideally one knife, forged with his own hand. Since in modern conditions it is difficult to get hold of a forged knife with your own hands, you can use an ordinary medical scalpel, bought specifically for this job.

When working, it is necessary to exclude the feeling of triumph, haste or anticipation.

The magic wand, on the other hand, is made from the most gnarled and gnarled (but by no means cracked or rotten!) Part of the tree. The rhizome of a tree, or, for example, the trunk of a Karelian birch, is very good for such purposes. If a part of a tree was taken to make a magic wand, with full self-confidence it makes sense to “give away” the tree - to rub a drop of blood into the incision on its bark.

The cut trunk is transferred to the place where it will be processed, and is not moved to other places until the end of the work. Waste is collected, and after the end of the work they are sacrificed to the forest spirits (they are buried under the sod in the forest with a feeling of gratitude).

All processing is carried out in a state of permanent meditation on the material. Haste, distraction to random affairs, attempts to speed up work by risking spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, if something can be scraped off, but can be cut off, but accuracy in the latter case cannot be guaranteed, then there should even be no doubt about what to scrape). It is best to work in the forest or in the country. The work is done in one go exactly as much as in the buzz. Whenever there is a desire to work, you need to do it, even if this work will consist of two movements.

The bark and cambium are peeled off the trunk, in the case of a staff, knots are cut and scraped off (not to smoothness), defects are cut out. The staff can then be finished at any time, but it is advisable to at least scrape it thoroughly and lovingly.

For the rest of the wands, the upper (according to the growth of the tree) end is sharpened, the lower is rounded. The lower part of the wand (for which it is then held) is scraped across the fibers. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal.

On a magic wand, both ends are rounded.

Further processing is the main difficulty. Part of the wand, except for the place where you hold onto and the point, is covered with a pattern. It makes no sense to “cover with a pattern” the rod. Scratches are applied to it in those places that, according to the feeling that have appeared, “they want it”. Some of them can be shallow, some will "require" deepening, sometimes up to a quarter of the radius (I didn’t have one, though). Scratches are made with the edge of a knife clamped in the fingers (by the way, it only needs to be sharpened by hand), and require a firm hand. When working, there should be a sense of conversation, conversation with a rod.

A small wand requires a pattern that is several times thicker and finer than a large one, but sections of the initial surface should remain on it as part of the pattern (then, probably, the magic wand should be entirely carved). If a crack has formed on the wand, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack), to the very surface.

For the magic wand, another type of pattern is preferable - a continuous, non-self-intersecting, open line that covers the largest possible area of the magic wand. If you can apply it in one stroke from start to finish ... However, I doubt that you will succeed.

It is not necessary to demand European accuracy from the rod, it must have in its form a reference to the original shape of the barrel, it must not be perfectly smooth or perfectly round, the metal hammered into the slot does not have to look like a seal, it is simply stored there, although if it is not looks clumsy, then that's right.

At the same time, he needs to be introduced to the world, that is, to show them in the sun, moon, stars, trees, while intensely feeling his attitude to the objects shown. It is not required to show ALL, and also to name names. Only that, the relation to which you consider worthy to be noted.

The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well come across a variety of symbols that you might have seen before, it is absolutely necessary to determine exactly whether your subconscious is indulging, or just like that the scratches have gone. The first is not good, the second is normal.

There are so many symbols that you can find them in anything, you do not need to be afraid of them or strive for them, interpreted by a person, they are always secondary.

Having applied the pattern, it is required to polish the wand with a cloth and river sand. Who has never done this - I warn you, do not press, otherwise you will scratch. By the way, it is better to sift and / or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the point must be ironed with a knife.

Polishing should take place in a joyful (but not exuberant hysterical) frame of mind, and this should not make the movements abrupt.

By this time, the rod will make you feel the need for initialization (activation? Consecration? I have been bad with the thesaurus lately), which consists in completely emotionless immersion of the point in something. In my case, it was night water, but it can be earth, and wine, and milk, and a living body (God forbid, human), and impurities. If required, the next day the point is wiped off with the same cloth that was used to polish the rod (by the way, I did not say that it should be natural fabric from your old clothes?), Which can be buried along with bark and sawdust, or it can be thrown away or destroyed, at your discretion.

The magic wand initialization looks a little more complicated. First, one end of it plunges into something, then (the time interval does not matter and is unpredictable in advance) its other end plunges into something else, which is opposite in properties to the first. At the glance, the phrase is somewhat clumsy, but if you take up the manufacture of a magic wand, then at this stage everything will already be clear to you.

The knife must be sharpened at the end of the work, and ... that's all.

If by that time you don’t know what to do next with the rod, then I probably didn’t explain something correctly.

From the book Magic Passes - The Practical Wisdom of the Shamans of Ancient Mexico the author Castaneda Carlos

From the book Psychodynamics of Witchcraft, or an Introduction to Paralogy. the author Shlakhter Vadim Vadimovich

From the book How to Become Sexy the author Kriksunova Inna Abramovna

Chapter 9 Magical "body language" Words are not needed! In order to attract the attention of a man, captivate him, charm and even make him fall in love with herself, a woman does not have to say anything at all. She can drive a man crazy without uttering a word at all!

From the book Movements of Magic: The Spirit of Tai Chi Chuan author Klein Bob

Magic Combat This way of linking every action in Tai Chi to gaining greater power over your life is called Tai Chi or Taoist magic. Here, the word "magic" refers to methods of developing personal strength to improve your life. This is the central theme

From the book of Proverbs Show-Dao the author Medvedev Alexander Nikolaevich

Needle, mallet and wand Once a peasant rescued a Taoist when he was drowning. The Taoist decided to thank the peasant for his good deed and took him to his cave. There he took out a huge pumpkin from a cache and took out of it three magical things: a needle, a mallet and a wand, and put them at the feet of the Taoist.

From the book Mumonkan, or Doorless Door author Mumon

From the book Magic Passes - The Practical Wisdom of the Shamans of Ancient Mexico the author Castaneda Carlos

From the book Enlightenment and Other Misconceptions author Renz Karl

Second group: magical pass directly related to Florinda Donner-Grau This group consists of just one magical pass. Its impact is fully consistent with the character of Florinda Donner-Grau. Don Juan Matus considered her to be very straightforward.

From the book The Magic of Sensual Representations. Development of extraordinary abilities the author Kholnov Sergey Yurievich

WHAT CAN I DO MYSELF? Question: Ramana said that there is no karma. As well as no rebirth. And, nevertheless, in the consciousness of the ego it is already embedded. Karl: As long as there is a concept of "I", there is everything. There is a desire and need for cleansing and every conception of dirt and

From the book Sexual Teachings of the White Tigress author Lai Xi

From the book Deliverance from All Diseases. Self-love lessons the author Tarasov Evgeny Alexandrovich

From the book How to stop procrastinating life author Babaut Leo

From the book The Perfect Brain. How to control the subconscious the author Sheremetyev Konstantin

From the book The Magician's Hat. Mischievous school of creativity author Bantok Nick

Magic staff made of wood. The staff (stick, wand, just a stick) can be considered one of the oldest tools used in magic. As a magical weapon, staves and wands are mentioned, for example, in the Welsh Mabinogion. In later times (XVIII-XIX centuries), legends and traditions about magic wands gave life to the image of the "magic wand", which is widespread in literary tales.

From the point of view of symbolism, the staff is a reflection of the Tree of the World and the sacred spear of the God of Light (Odin, Luga, etc.). It is the role of the World Center that the staff stuck into the ground plays in a number of magical rituals. It can be used to channel magical energy. It is believed that the staff is perfect for accumulating mystical power in it.

The broom is a kind of "female counterpart" of the staff. However, the broom is devoid of a number of the capabilities of the staff, although it has many of its own functions. So, for example, the broom is present in women's magical rites of cleansing a place, home, etc.

Wood was the very first material from which all sorts of attributes for magical rituals were made. Thus, arboreal finds were found in the Netherlands, Denmark, and some other European countries. The most famous of these objects is a wooden sword from Arum (Netherlands), dating from the middle of the 7th century. A runic inscription is applied to the sword, which can be translated as "return", "messenger". It is believed that this amulet is intended to protect the traveler. Another similar item is found at Britsum, Frisia. It is a wooden amulet dating from the turn of the 8th and 9th centuries. The amulet also bears a runic inscription that reads: "Always wear this yew in the crowd of battle." Apparently, this amulet is associated with military magic.

Depending on the type of wood, staves differ significantly in their magical properties. They made staffs from ash, hazel, oak, yew, elder, and many other trees. The ash-tree staff was considered magical already due to the fact that such a spear was likened to the sacred spear of the God of Light, for Odin's spear, Gungnir, was made from the wood of this particular tree.

The hazel staff serves as the best protection on the way from alien magic. Previously, walnut twigs were stuck along the contour of a certain territory, which provided protection from dark forces. Thus, in Scandinavia, the battlegrounds were fenced off so that none of the spectators could influence the course of the battle with the help of magic.

In Russia, the analogue of yew is pine.

How to make a druid's staff:

1. Select the material (wood) from which your staff will be made. The tree must be inwardly attuned to the magician.

2. Before you are going to cut a stick for your staff, be sure to talk to the tree, explain who you are and why you need a part of it. It is favorable to make some kind of offering, it can be honey, wine or incense.

3. After a positive answer from the tree, you can safely chop a stick and prepare your staff from it.

4. You must make a vow that your deeds will be pure and that you will follow the magic of the druids.

5. When you have cut down the tree you need to immediately process the material. Take a knife or sandpaper and shape the stick into whatever shape you like.

6. You can now apply varnish and paint to your staff.

7. The final stage is the drawing of magic signs, runic inscriptions. You also need, as befits a druid, to come up with a name for your staff, so you will better understand and treat each other with respect.

How to make a staff or wand of a magician from wood? There are four standard sizes of magic wands, made of wood and serving as an aid to concentrate and enhance one's own strength.

1. Staff - in height approximately

2. Large rod - two to three cubits

3. Small rod - one or two cubits

The smaller the wand, the more powerful it is, and the more careful processing it requires.... Rods can also be made of metal or stone, but since the labor intensity is much higher, I do not even try to advise anything on this matter.

Before you start, you need to perform a purification ritual that matches your ideas.... During processing, what you call fasting should be observed. Any psychotics are categorically excluded, even tobacco or coffee can disrupt your work. For any wooden rod, it is chosen (but it can be an oak or hawthorn), in the general case, preference is given to a harder species. A young tree of suitable thickness is selected. For everything except the staff, part of the main trunk is suitable only without knots.

The tree is cut with a feeling of regret for the ruined plant, and the confidence that your need is worth it. A minimum of tools are used, ideally one knife, forged with his own hand. Since in modern conditions it is difficult to get hold of a forged knife with your own hands, you can use an ordinary medical scalpel, bought specifically for this job. When working, it is necessary to exclude the feeling of triumph, haste or anticipation. on the contrary, the rhizome of a tree, or, for example, the trunk of a Karelian birch, is made from the most gnarled and gnarled such purposes. If a part of a tree was taken, with full self-confidence, it makes sense to "give away" the tree - rub a drop of blood into the incision in his bark... The cut trunk is transferred to the place where it will be processed, and is not moved to other places until the end of the work.

Waste is collected, and after the end of the work they are sacrificed to the forest spirits (they are buried under the sod in the forest with a feeling of gratitude). All processing is carried out in a state of permanent meditation on the material. Haste, distraction to random affairs, attempts to speed up work by risking spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, if something can be scraped off, but can be cut off, but accuracy in the latter case cannot be guaranteed, then not there should even be doubts about what should be scraped). It is best to work in the forest or in the country. The work is done in one go exactly as much as in the buzz. Whenever there is a desire to work, you need to do it, even if this work will consist of two movements.

The bark and cambium are peeled off the trunk, in the case of a staff, knots are cut and scraped off (not to smoothness), defects are cut out. Staff can then be finished at any time, but it is recommended at least to scrub it thoroughly and lovingly.

For the rest of the wands the upper (according to the growth of the tree) end is sharpened, the lower one is rounded. The lower part of the wand (for which it is then held) is scraped across the fibers. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal. On a magic wand, both ends are rounded.

Processing should be interrupted and played with the resulting item. You need to feel him as your own, find a comfortable position for him in your hand, love him, become attached to him. From this moment on, the workpiece should be kept with you at all times, at least in the area of attention. At the same time, the feeling should be such that you acquaint him with yourself, with your life, with your habits, emotions. Further processing is the main difficulty. Part of the wand, except for the place where you hold onto and the point, is covered with a pattern. It makes no sense to the emerging feeling of “they want it”. some of them may be shallow, some will “require” a deepening, sometimes up to a quarter of the radius (though I didn’t have this). Scratches are made with the edge of a knife clamped in the fingers (by the way, it only needs to be sharpened by hand), and require a firm hand. When working, there should be a sense of conversation, conversation with a rod.

Small wand requires a pattern that is several times thicker and finer than a large one, but sections of the initial surface must remain on it as part of the pattern (then, probably, the magic wand must be entirely carved). If a crack has formed on the wand, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack), to the very surface. another type of pattern is preferable - a continuous, non-intersecting, open line, covering the largest possible area of the magic wand. If you can apply it in one stroke from start to finish ... However, I doubt that you will succeed. It is not necessary to demand European accuracy from the rod, it must have in its form a reference to the original shape of the barrel, it must not be perfectly smooth or perfectly round, the metal hammered into the slot does not have to look like a seal, it is simply stored there, although if it is not looks clumsy, then that's right.

Unfortunately, I cannot describe in more detail the pattern covering, as it happens in deep meditation. The work should have an inner impression of an intrinsically valuable process, one should not feel concern about the result, even a certain nostalgic pity that now, part of the work has been done, is permissible. At the same time, he needs to be introduced to the world, that is, to show them in the sun, moon, stars, trees, while intensely feeling his attitude to the objects shown.

It is not required to show ALL, and also to name names. Only that, the relation to which you consider worthy to be noted. The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well come across a variety of symbols that you might have seen before, it is absolutely necessary to determine exactly whether your subconscious is indulging, or just like that the scratches have gone. The first is not good, the second is normal.

There are so many symbols that they can be found in anything, you do not need to be afraid of them or strive for them, interpreted by a person, they are always secondary. Having applied the pattern, it is required to polish the wand with a cloth and river sand. Who has never done this - I warn you, do not press, otherwise you will scratch. By the way, it is better to sift and / or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the point must be ironed with a knife. Polishing should take place in a joyful (but not exuberant hysterical) frame of mind, and this should not make the movements abrupt.

By this time, the rod will make you feel the need for initialization consists in a completely emotionless plunge of the tip into something. In my case, it was night water, but it can be earth, and wine, and milk, and a living body (God forbid, human), and impurities. If necessary, the next day, the point is wiped off with the same cloth that was used to polish the rod (this should be natural fabric from your old clothes), which can be buried along with bark and sawdust, or it can be thrown away or destroyed, at your discretion.

It looks a little more complicated. First, one end of it plunges into something, then (the time interval does not matter and is unpredictable in advance) its other end plunges into something else, which is opposite in properties to the first. At the glance, the phrase is somewhat clumsy, but if you take up the manufacture of a magic wand, then at this stage everything will already be clear to you.