Witchcraft key displays have become quite popular in recent years as a form of decoration and symbolism. These displays typically feature antique skeleton keys hanging from various objects, such as branches or decorative hooks. The keys are often weathered or distressed to give them an aged and mystical appearance. The purpose of witchcraft key displays is to evoke a sense of magic and mystery. Many people believe that keys have symbolic meanings related to unlocking hidden knowledge or connecting with the spiritual realm. The display of these keys can serve as a reminder of these beliefs and can be a visual representation of a person's interest in witchcraft or the occult.
The display of these keys can serve as a reminder of these beliefs and can be a visual representation of a person's interest in witchcraft or the occult. In addition to their symbolic meaning, witchcraft key displays can also be aesthetically pleasing. The keys themselves have a certain beauty and intrigue, particularly when arranged in an artistic and creative manner.
Witches in History
Located in a dark room within Second Sight: Witchcraft, Ritual, Power are three small prints. They are easy to overlook. Monochromatic and diminutive in size, they are not as attention-grabbing as some of the much bolder images on display. But I would urge viewers to look for these prints, as they are responsible for establishing some of the most important imagery that we still associate with witches and hold the key to understanding Second Sight.
Hans Baldung Grien, The bewitched groom (c.1544), Reproduced courtesy The Metropolitan Museum of Art, New York, Rogers Fund, 1917.
Hans Baldung Grien, The bewitched groom (c.1544), Reproduced courtesy The Metropolitan Museum of Art, New York, Rogers Fund, 1917.
Giovanni Benedetto Castiglione, Circe with companions of Ulysses changed into animals (1650-1651).
Giovanni Benedetto Castiglione, Circe with companions of Ulysses changed into animals (1650-1651).
Albrecht Dürer, Witch riding backwards on a goat (1501-1502), Reproduced courtesy of The Museum of New Zealand Te Papa Tongarewa, Wellington.
Albrecht Dürer, Witch riding backwards on a goat (1501-1502), Reproduced courtesy of The Museum of New Zealand Te Papa Tongarewa, Wellington.
For most people today, witches are the stuff of Halloween or Disney. But only 300 years ago, witchcraft was a crime punishable by death. During the early modern period (1450–1750), 45 000 women and men were executed in Western Europe under legislation specifically against witchcraft. Another 45 000 were tried but not convicted. In the eyes of the law, and in much of society, witches were people who had made a pact with the Devil and who had then used their newfound demonic powers to harm their neighbours. Witches were most often believed to be women, frequently elderly, poor, widowed or childless. They were accused of killing children, making men impotent, ruining crops, causing storms and shipwrecks, attending the sabbath, and working together to cause evil and discord. Of course, most of these accusations were only true in the minds of accusers, but that didn’t stop the vast majority of men and women from believing in witchcraft.
But where did these ideas come from? Although witches were believed to exist in medieval Europe, it wasn’t until the fifteenth century that the idea of witchcraft as a diabolical crime rose to prominence. Key texts were influential in establishing this concept, such as Heinrich Kramer’s notorious Malleus Maleficarum (The Hammer of Witches) of 1486 and a number of lesser known texts from the 1430s. But one of the main ways in which ideas of witchcraft circulated was through visual culture. In Second Sight, we are lucky enough to have three early visual depictions of witchcraft: Albrecht Dürer’s Witch Riding Backwards on a Goat (1501–1502); Hans Baldung Grien’s The Bewitched Groom (1544); and Giovanni Benedetto Castiglione’s Circe with Companions of Ulysses Turned into Animals (1650–1651).
All of these works feature aspects of the now stereotypical witch. For example, Dürer’s witch is depicted as a strong, muscled figure who looks wholly in charge while riding the goat. Her position riding backwards shows the inverse and unnatural role of witches in the world. Similarly, her hair flows in the opposite direction than it should, highlighting that she is outside nature. She is both physically repellent through her masculine body but also strongly sexualised. The distaff (a feminine object used to spin wool or flax) placed prominently between her legs, her long hair and open mouth (all signifying lust), and her suggestive grasping of the goat’s horn all associate her with transgression and sexual desire. Fifteenth- and sixteenth-century treatises on witches associated them with deviant sexuality, with many authors describing the unnatural orgies in which witches were believed to partake. At the sabbath, witches were believed to engage in supposedly unnatural sexual acts with the Devil, with other witches, and even with their own children. This concept of the lustful witch is also visible in Grien’s The Bewitched Groom; although the witch is off to the side, her exposed breast is visible to all. Grien’s work also highlights anxieties about sexuality. Central to the piece is the bewitched groom’s prominent codpiece; this motif is echoed by the horse’s uncovered genitals, revealed through a brief movement of its tail. Although the witch is not central, it is clear that her presence is tied to dangerous sexuality.
Some displays incorporate other elements, such as candles, crystals, or natural materials, to enhance the overall effect. Witchcraft key displays are not limited to a specific style or theme. They can be tailored to individual preferences and can be as simple or elaborate as desired. Some people may choose to create a small display on a tabletop or shelf, while others may create larger installations on walls or in outdoor spaces. Overall, witchcraft key displays offer a unique and visually striking way to incorporate elements of witchcraft and the occult into home decor. Whether used as a focal point or as a subtle accent, these displays can add an element of mystery and enchantment to any space..
Reviews for "Unlocking Hidden Wisdom: Key Symbolism in Witchcraft Key Displays"
1. Samantha - 2 stars
I was really disappointed with the Witchcraft key displays at the museum. I found them to be extremely boring and lacking in creativity. The displays were just a collection of old keys and there was no context or explanation provided to understand their significance. I was expecting to learn about the history of witchcraft and its association with keys, but instead, I left feeling underwhelmed and uneducated. The museum should really consider revamping this exhibit to make it more engaging and informative.
2. James - 1 star
I have to say, the Witchcraft key displays at the museum were a complete waste of time. They were poorly curated and lacked any sort of meaningful narrative. It seemed like the museum just threw together a bunch of random keys and called it an exhibit. I didn't learn anything about witchcraft or how keys are connected to it. The displays felt completely out of place in the museum and I would not recommend wasting your time on them.
3. Emily - 2 stars
The Witchcraft key displays at the museum were a letdown for me. It felt like a missed opportunity to explore an intriguing aspect of witchcraft. The displays lacked any depth or coherence, leaving me with more questions than answers. I was hoping to see a variety of keys and learn about their symbolic meaning in witchcraft, but instead, I was greeted with a haphazard collection that offered no real insight. Overall, I found the displays to be uninformative and unsatisfying.
4. Michael - 1 star
I visited the museum with high expectations for the Witchcraft key displays, but unfortunately, they fell flat. The displays were unimaginative and lacked any real substance. The museum could have done so much more with this exhibit, exploring the history and symbolism of keys in witchcraft. Instead, I was left feeling like I had wasted my time and money. I would not recommend this exhibit to anyone looking for a meaningful and educational experience.