The love witch paintings are a fascinating subject that combines art, history, and romance. These paintings, often depicting women with mystical powers, have captured the imaginations of artists and viewers alike for centuries. The love witch paintings originated in medieval Europe and were influenced by a variety of sources. One of the most significant influences on these paintings was the belief in witchcraft and the supernatural. During this time, witchcraft was not only feared but also romanticized. People believed that witches had the power to control and manipulate emotions, including love.
We may never know for sure how the myth of the flying broomstick arose. But the pharmacological actions of scopolamine and atropine, extracted from local herbs, might well be at the heart of this iconic image. If so, the flight to the Sabbat would have been a delirious, drug-induced hallucination – a dream of the deadly nightshade, given contemporary, corporeal form in our ghoulish Halloween costumes.
Even among those few who did confess to witchcraft, there s not much evidence that they made potions for flight, or for other nefarious purposes, he says. If contemporary accounts are to be believed, witches applied this hallucinogenic ointment with the handle of a broom, smearing the ointment onto the length of the broom and then rubbing the handle against their genitals and even inserting it into the vagina.
People believed that witches had the power to control and manipulate emotions, including love. The love witch paintings typically feature a woman who is both alluring and dangerous. She is often shown using her powers to seduce or enchant her victims.
Halloween witch: is a travel sickness drug behind flying broomstick myth?
At Halloween, images of witches flying across the night sky astride broomsticks are everywhere. The myth that witches could fly with the help of their broomsticks has been around for centuries, but could its origins be traced to a chemical in over-the-counter medicines found in most of our homes?
In the heyday of witch-hunting hysteria, talk of a mysterious "flying ointment" began to gather momentum among those investigating witchcraft. This herbal unguent, rubbed into the skin, was purported to confer the power of flight, transporting witches to their Sabbat gatherings.
The Spanish court physician Andrés de Laguna, writing in the 16th century, claimed to have taken from the home of a couple accused of witchcraft "a pot full of a certain green ointment … composed of herbs such as hemlock, nightshade, henbane, and mandrake."
That would have been a potent mixture. Nightshade, henbane and mandrake are some of the most toxic plants in the family Solanaceae. Nightshade (Atropa belladonna) is immediately recognisable for its deep purple fruit and was said to be tended by the Devil himself. Like its close relatives henbane (Hyoscymaus niger) and mandrake (Mandragora officinarum), its leaves and berries are packed with chemicals called tropane alkaloids.
One of these, scopolamine (also known as hyoscine), is the active ingredient of travel-sickness medications such as Boot's Travel Calms and the skin patch Scopoderm. Tropane alkaloids are unremarkable additions to a modern medicine cabinet, but if you took the raw plant material and pounded it in molten fat, you'd extract an uncontrolled mixture of the alkaloids in their pure, base form. You will have created the green ointment of de Laguna's alleged witch.
Scopolamine and its close cousin atropine are "muscarinic antagonists" – they bind to receptors in the nervous system that would, ordinarily, bind to the neurotransmitter acetylcholine. Low doses of these chemicals will induce a dry mouth and dilated pupils – and relieve the nausea of travel sickness. But high doses can lead to antimuscarinic syndrome: a state of altered consciousness often characterised by delirium and intense hallucinations.
If contemporary accounts are to be believed, "witches" applied this hallucinogenic ointment with the handle of a broom, smearing the ointment onto the length of the broom and then rubbing the handle against their genitals and even inserting it into the vagina. As the drugs took effect, delusions of flight may have ensued while astride the broomstick's handle. It has been argued that this drug-induced delusion lies at the the root of the myth of witches' flight.
The pharmacology is sound. "Ointment would have been very effective as a delivery method for scopolamine," says Dr Randolph Arroo, head of research at Leicester School of Pharmacy, De Montfort University. "Alkaloids go through your skin into the bloodstream – consider nicotine patches." Tropane alkaloids easily cross the blood-brain barrier, acting on the central nervous system.
"Mucous membranes are particularly good at transporting drugs - that's why cocaine is snorted," he adds. "Vaginal application would be pretty efficient, and the effects of the drugs would be noticeable quite rapidly."
So the ointment may well have been capable of delivering powerful delusions of flight. But the image of hallucinating women astride brooms is so highly sexualised as to seem comic. Did some of those accused of witchcraft really apply flying ointment in this way?
Dr Andrew Sneddon, a historian at the University of Ulster, is sceptical. "Even among those few who did confess to witchcraft, there's not much evidence that they made potions for flight, or for other nefarious purposes," he says. Rather the opposite, in fact: "As far as I'm aware, the material culture of witchcraft, in terms of surviving artefacts, relates mainly to anti-bewitchment measures – amulets and such like – made by cunning folk."
Did the ointment even exist? It's hard to be sure. "Many writers of demonological tracts were convinced that witches flew with the aid of ointments. It's there in the Malleus Maleficarum [a 15th century treatise on the prosecution of witches], with witches using the fat of murdered children as the basic ingredient," says University of York historian Professor Jim Sharpe. Significantly, though, any such admission by a "witch" would have been made under torture.
According to Sharpe, twilight flight has been a remarkably persistent cultural reference, going back as far as the cult of the Roman goddess Diana. Moreover, Aztec shamans in 15th century Mexico used another tropane alkaloid-containing plant – Datura stramonium or thorn apple – to transport their souls on "a magical flight to mythic time and space", reports Bernard Ortiz de Montellano in Aztec Medicine, Health, and Nutrition.
We may never know for sure how the myth of the flying broomstick arose. But the pharmacological actions of scopolamine and atropine, extracted from local herbs, might well be at the heart of this iconic image. If so, the flight to the Sabbat would have been a delirious, drug-induced hallucination – a dream of the deadly nightshade, given contemporary, corporeal form in our ghoulish Halloween costumes.
That would have been a potent mixture. Nightshade, henbane and mandrake are some of the most toxic plants in the family Solanaceae. Nightshade (Atropa belladonna) is immediately recognisable for its deep purple fruit and was said to be tended by the Devil himself. Like its close relatives henbane (Hyoscymaus niger) and mandrake (Mandragora officinarum), its leaves and berries are packed with chemicals called tropane alkaloids.
These paintings often depict scenes of magic, potions, and spells. One of the most famous love witch paintings is the "Witch of Love" by Dante Gabriel Rossetti. This painting, created in the 19th century, depicts a beautiful yet mysterious woman casting a love spell on a man. The painting is filled with rich colors and intricate details, showing the artist's fascination with the supernatural. The love witch paintings not only capture the beauty and mystery of witchcraft but also reflect the societal views on love and desire. In many of these paintings, love is depicted as a powerful force that can be both captivating and dangerous. Although the love witch paintings may be seen as romanticizing witchcraft, they also serve as a reminder of the power that love holds over us. They remind us that love can be intoxicating and overwhelming and that it can have both positive and negative consequences. In conclusion, the love witch paintings are a captivating and enchanting subject that has fascinated artists and viewers throughout history. These paintings not only showcase the artist's skill but also reflect the societal views on love and desire. Whether seen as romantic or dangerous, the love witch paintings serve as a reminder of the power and complexity of love..
Reviews for "Love and Nature: The Connection Between Love and the Natural World in Art"
1. John - 1/5
I was extremely disappointed with "The Love Witch Paintings." The title had intrigued me, but the actual paintings were a letdown. The artist seemed to lack any skill or technique, as the brushstrokes were sloppy and the colors were muddy. The overall composition of the pieces was also confusing and disjointed. I expected to be moved or captivated by the emotions portrayed in the artwork, but instead, I felt nothing but confusion and boredom. I would not recommend wasting your time on this exhibition.
2. Sarah - 2/5
I had high hopes for "The Love Witch Paintings," as I am a fan of mystical and fantasy-themed artwork. Unfortunately, this exhibition fell short of my expectations. While the theme of love witches sounded interesting, the execution of the paintings was lackluster. The artist's choice of colors was too vivid and clashed with each other, making the pieces visually unappealing. Additionally, the brushstrokes were messy and lacked precision, making it hard to appreciate the finer details of the artwork. Overall, I found this exhibition to be underwhelming and would not recommend it to others.
3. Mark - 2/5
"The Love Witch Paintings" left me feeling confused and disconnected. The artist's style appeared to be a mishmash of different influences, without a clear direction or purpose. None of the paintings seemed to delve deep into the theme of love witches, leaving me wondering what the artist was trying to convey. Additionally, the lack of consistency in the quality of the artwork was evident. Some pieces showed promise, while others seemed hastily done and lacking in skill. Overall, this exhibition failed to make a lasting impression on me, and I would not recommend it to those seeking thought-provoking or visually captivating artwork.
4. Emily - 1/5
"The Love Witch Paintings" was a complete waste of my time. The artwork lacked any originality or creativity. It felt like the artist was trying to cash in on the current trend of mystical and witch-themed art without bringing anything new to the table. The paintings were generic and forgettable, with nothing that stood out or left an impact. I expected to be transported into a world of magic and enchantment, but instead, I was met with disappointment and boredom. Save yourself the trouble and skip this exhibition.