CHAP TER TWO
The Rowdy Crossroad If we look at the cross itself, it is made from two bridges that cross one another, making four paths, but this bridge can also part into two or three avenues and still be a crossroad. Hence the triskelion, the witches’ foot, the Sun cross, the Basque lauburu, and the Slavic kolovrat—whether they be three-arm, four-arm, or eight-arm crosses, they represent the powers of the Sun shining in the Land of the Dead as well as the movement through the four stations of the day reflected in the four stations of life: birth through life to death and then rebirth. This is also true for the Kongo Yowa cosmogram, which marks the stations of life from within the abysmal waters throughout the cycle of life and death before finally returning to the abysmal waters. The cross with its lower end planted into the earth, the grave of Adam, thus resurrects the Sun and becomes a code for the most infamous of the patrons of the witches’ craft, Sol Invictus—Lucifer. The cross itself marks the four quarters, the four elements, and the path of the Sun, Moon, and stars rooted in the terrestrial centre, mirroring itself in the polestar. The Romans had several words to refer to types of crossroads, such as Bifrons, Trifrons, and Quadrofrons, which would be a road in the shape of a stang, a trident, or in the shape of a cross respectively. Janus, god of passages and transitions, was subject to variants of all these forms of intersection—a legacy Hecate inherited. Also, the cross was at times fused or confused with the Greek staurus, meaning “rod” or “pole,” evident from the Latin word crux. The crossing
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