The foundations of silver’s allocation to womanliness and the Moon lie in the old grounds of Mesopotamia, when home to the world’s most progressive human advancements during the late Neolithic time frame.
Noticing the Moon’s fluctuating inside a 28-day cycle, the Mesopotamians were quick to associate the synchronicity between our sister planet’s developments and the female regenerative cycle. This prompted the Moon representing fruitfulness, and its inevitable apportionment with the Mesopotamian god and goddess, Nanna and Ningal.
Ningal and Nanna were the supporter divinities of one of the main urban communities in southern Mesopotamia, Ur. They dwelled in the sanctuary called Ikinugal, which means the ‘Place of Moonlight’ and were regularly addressed by a sickle Goddess Hecate Moon shape. Archeologists accept that this shape was utilized to imply the sickle Moon, yet in addition the state of the belly and similarly the horns of a bull, a sacrosanct image of fruitfulness in Mesopotamia and the progressive societies of Greece and Rome.
Albeit the Mesopotamians had as of now perceived the seven planets, allotting every one a divine being or goddess, it was the Egyptians who were quick to suitable these planets and their divinities with metals, beginning with gold and silver.
Every one of the seven planets and their divine beings were at long last connected with the seven known metals in the old style Greek period. The seven metals were profoundly venerated, not exclusively being related to the divine beings and the seven apparent planets themselves, but on the other hand were utilized to represent their ages. To begin with, brought into the world from the waters of Chaos, came the Titan Gods, the Titans denoted the ‘Brilliant Age’ of Greek folklore. The succeeding age of divine beings were the Olympians, drove by Zeus, who brought about the ‘Silver Age’ of old style Greece.
The principal Greek goddess of the Moon was Selene, later referred to by the Romans as Luna, who was brought into the world from the Titan ‘Brilliant Age.’ Although she was raised to an exceptionally high status in the Greek pantheon, she was never completely acknowledged as one of the twelve extraordinary divine beings and goddesses of the Olympian ‘Silver Age’. Curiously, Selene similar to the case for some, antiquated Greek gods, gave her name to the metal Selenium whose properties change according to the thickness of light, similar as the goddess of the Moon herself.
Selene, little girl of the Titan sun god Hyperion and Theia, was the sister of Eos the goddess of the sunrise, and Helios the Olympian Sun god. It was said that regular Selene washed in the ocean sitting tight for her sibling Helios to finish his excursion across the sky. Selene addressed the evening and the evening, and in this sense was regularly portrayed as a young lady with a lily-white tone. She traversed the night sky in a silver chariot pulled by two ponies conveying a light and embellished with a diadem of a half moon on her head.
Selene, a heartfelt top choice with painters and writers, was known for her many ‘contacts d’amour’. Two of her most famous issues were with Pan, and the dad of Olympus Zeus. Zeus and Selene were claimed to have imagined the Nemean lion, deified in the primary path of Hercules, which was said to have tumbled to Earth from the Moon. Notwithstanding, Selene’s most well known relationship was with an attractive human shepherd called Endymion, who she visited every late evening kissing him to rest. At last Selene asked Zeus to give Endymion anything he wished jumping that he would request interminability, yet Endymion was vain, and on second thought requested that Zeus save his attractive features forever. Zeus consented and put him in timeless rest.
During the Greek and Roman Empires the goddesses of our sister planet the Moon were addressed in a practically schizophrenic way. Their imagery becomes more clear through understanding the three discernable patterns of the Moon: waxing, melting away and new. Three unique goddesses and their properties addressed the three recognizable patterns of the Moon and their effect on the Earth.
Selene was the ‘Waxing Moon’ prolific and full she was the mother goddess pregnant with life. Artemis was the virgin goddess of the chase mirroring the characteristics of the ‘New Moon’. Lastly there was Hecate, who was the goddess of the fading or moonless evening, shrouded in otherworldliness with the ability to mend or change. Hecate was the Greek goddess of the junction said to seem when the dark Moon sparkled. Hecate was regularly portrayed as having three heads: a canine, a snake and a pony and was normally seen with two phantom dogs. Regularly misjudged as the goddess of black magic or fiendishness, Hecate carried out numerous gallant things including the salvage of Persephone, Demeter’s little girl, from Hades in the Underworld.