The title of this post might seem a bit catchall, but it was inspired by the goddess Alauna and Boudina, who appear together on a couple of altars in Romanized Germany, while the similarly-named Alounae seem to be mother-goddesses from modern Austria.
As with Dea Vecana and Meduna, another pair of Germanic goddesses, one is warlike, while the other is more peaceful. The name Boudina comes from the Celtic root boudi-, victory, while Alauna means either nourisher or wanderer.
The Irish Badb was one a number of terrifying goddesses of war. She could work battle magic to terrify the enemy, or just kill them with her terrifying shrieks. Badb could be one or many, and sometimes teamed up her sisters the Morrigan and Macha to wreak destruction.
The name badb comes from a Celtic root meaning “fury” or “violence”, from the Celto-Germanic *bodou, battle. The carrion crows that appeared at battlefields led to the other meaning, crow, and the idea of a crow goddess, so that Badb Catha meant “Battle Crow”. (Heijda: 12)
In my first post on Rosmerta, I focused on her as a goddess in her own right. This time around, I want to examine the ideas put forth in Michael Enright’s thesis Lady with a mead-cup, which argues that the cult of Rosmerta and Mercury was the basis for the later cult of Odin and various prophetic, mead-serving goddesses (and others) associated with him.
Nemetona, Goddess of the Sacred Grove, had her cult in those dense Germanic forests that the Romans feared so much. Especially after the disaster in 9 CE, when three Roman legions and their auxillaries were ambushed and cut down in the Battle of the Teutoburg Forest, they preferred open spaces to the forests in which the druids and others worshipped.
Ancamna was a protector goddess of the Treveri, a Celtic tribe from the Moselle River area in Germany. Her cult centered on the area around Trier, known to the Romans as Treveri Augustorum (French Trèves).
Nantosuelta was a Gaulish goddess, although traces of her worship have turned up in Germany, Luxembourg and Britain. She can be identified by the little house that she often carries, which looks like a birdhouse on the end of a long pole.
No other deity carries it, so we always know it’s her when we see it. No one really knows what it is supposed to represent – perhaps she was a goddess of home and hearth?
This post is a bit of a swizz – the name Rigantona is actually a hypothesis, a reconstruction by linguists of the origins of the name Rhiannon. There are no images, inscriptions or literary references to Rigantona.
There are, however, a few inscriptions to a goddess Rigana (whose name would be cognate to Latin Regina). Sometimes these goddesses are associated with Juno or Minerva (Jufer & Lughinbuhl: 13), other times they appear on their own.
Since the goddess Rosmerta often (not always) appears with the Roman god Mercury in both inscriptions and art, it is generally assumed that she is his consort, and the images that show her with his attributes indicate that he was the more powerful partner. There is a strong case to be made, however, for reading it the other way around.