Lady and protector of the home, wise counselor who foresees the fates of gods and humans, patroness of work and craft, wife of Odin. . . the old Scandinavian goddess Frigg is a deep and multifaceted goddess who wields power on many levels. Her maidens are goddesses in their own right, keeping ancient lore and healing skill, and bringing love, wisdom, and protection to those who call on them, Rev. Maire Durkan, a Godwoman in the Troth and a witch in the Assembly of the Sacred Wheel tradition, explores the nature of this powerful goddess. The old myths and stories of Frigg and her ladies are complemented with poems and rituals in their honor.

Lady and protector of the home, wise counselor who foresees the fates of gods and humans, patroness of work and craft, wife of Odin. . . the old Scandinavian goddess Frigg is a deep and multifaceted goddess who wields power on many levels. Her maidens are goddesses in their own right, keeping ancient lore and healing skill, and bringing love, wisdom, and protection to those who call on them, Rev. Maire Durkan, a Godwoman in the Troth and a witch in the Assembly of the Sacred Wheel tradition, explores the nature of this powerful goddess. The old myths and stories of Frigg and her ladies are complemented with poems and rituals in their honor.

William Powell Frith (1819-1909) was the greatest British painter of the social scene since Hogarth. His panoramas of nineteenth-century life broke new ground in their depiction of the diverse London crowd, and they are now icons of their age. Frith’s popularity in his lifetime was unprecedented; on six separate occasions special railings had to be built at the Royal Academy to protect his paintings from an admiring public. Derby Day and The Railway Station are nearly as well known today as a century ago, yet the artist who painted them is now neglected. This book explores Frith's place in the development of Victorian painting: the impact of his unconventional private life on his work, his relationships with Hogarth and Dickens, his influence on popular illustration, the place of costume in his paintings, his female models, his painting materials and practice, and much more. The book makes an important contribution to the literature on art in the Victorian era and to our understanding of the nineteenth century.