Nitharca. (of) Lost Goddesses

23rd Feb 2026

Nitharca. (of) Lost Goddesses

Fig. 1 ~ The Seal of Neith, The Scales of Maat and the eyes of the Moon and Sun

Nitharca ~ The Dream Vision

Down a rabbit hole indeed, from Lucid dream, arrived a messenger, of no consequence for any need or want that I should have, I did not ask for this emanation to arise, and I have no questions.
I was wandering into a depressing bleak tenement block, as I faced the oppressive concrete stairs, dimly lit from a solitary light in the hallway below, the feint yellow haze of that light casting shadows upon the stairwell almost giving life to the barren womb of the stairwell. At the top of the stairs was the absolute darkness, and it was from this darkness ‘she’ emerged.
There was no fear nor excitement, I was fully aware I was in a Lucid dream, and rather than direct the scene before me, I allowed it to progress.
” I am Nitharca” ¹ she spoke, her voice was very peculiar because in as much, it was familiar, heavy London Cockney and my first thought was that she wasn’t a ‘messenger’ or ‘angel’ or Fae at all, but a representation of someone in life I would perhaps know.
¹Pronounced “Knee- Far- Ca (as in cat) “
She had fiery Orange/ginger hair, thick that tousled down her shoulders, She wore a dishevelled silky cream blouse which was open revealing a scarlet brassiere, her right breast however was completely exposed. She wore nothing upon her legs except some fuchsia coloured underwear.
Was she some representation of a prostitute or ‘fallen woman’? I could not tell, she did not seem to be enticing me, and any thoughts I might have of seduction were not arising, I knew she was a powerful figure, and more the element of the trickster was apparent, so I was en-guarde.
The New Lunar Year of the Fire Horse had begun, Saturn and Neptune conjunct, a 36 year dance, or even longer in actual 0⁰ Aries.
She sat down midway up the stairwell, her legs were parted as if , you may understandably say, symbolically luring me forward, but again, despite this, there was no urge, she neither beckoned nor flirted and sat there in this posture as if it were natural, and in return I never approached, nor would I.
It was a strange and peculiar scene. Had I painted this vision(I am in fact now painting this image in oils~ though it’s the worst art media I can use, strangely though I like using oil paint the best), all observers would I’m sure agree, it is a vision of impending lust, others may say it is a scene of objectification, degradation.. particularly as the background was one of decay and neglect. I’m sure it is a typic Sigmund Freud image.
Both these arguments however were not the case, and Sigmo’ – get behind thee. It was almost as if we knew each other somewhat.
Perhaps, I wondered, that because I had prior to sleep no desire for questions, answers, wants or needs, that this was the cause of the resonant ambivalent scene between us.
I tried then at this ‘stalemate’, in lucid dream, to excite the moment, to imagine behind her, atop the brooding stairs a menacing figure emerging from the shadow. Just to create momentum and see what happens.
But it did not arise, just stillness, absolute stillness.
She rested her forearms upon each knee leaning forward as if to study me and more to let me know, though I were in lucid dream, and I were the pervader of this observation, it were in fact she who was calling the shots.
I would usually adjure the nature before me, whatever sprite or denizen of the night it may be, command, to ‘obey’, such is the actions of the dreamer with the spirits at their behest, but the only emotion I felt was one of laughter, not sarcastic or mocking, but genuine happy harmonious laughter.
Bear in mind, what I have just related happened in but a few short seconds, from approaching the stairs to seeing her emerge from the shadows and to sitting down announcing herself.
As I recall the dream, in my analytical ( and sarcastic ) mind I would have concluded that ‘Nitharca’ and the subsequent scene of non-coital- participation to mean her name was actually ” Nay-Fucker”, which is more typical of my vain and gross nature.
In answer to her greeting, ” I Am Nitharca”, I replied at last and without commanding or seeking to dominate the vision, “and why have you approached?”
She leaned even further forward towards me, a cobra about to spit and said, “What Am I ? “
This wasn’t a riddle, nor was it confusion, the question was put to me, to explain, what she is. For me to work it out, to tell her?
And the story became gnarled and twisted more so in the waking world than in the dream….,

Nitharca ~ Analysis, Commentary

fig.2/ Customs Beliefs of Pre-Roman Britons / Regni and Nitharca;-

Ni / Nith
Proto-Brittonic nīt / nid → “not,” “absence,” or “darkness.”
Could symbolize night, hidden, or secret.
-thar-
Proto-Celtic tar → “across, beyond, through.”
In context, could imply passage, crossing, or movement.
-ca
Can suggest “she who does” or “one associated with”.
A suffix in Celtic personal and deity names, sometimes agentive or feminine.

Complete entry of Figure 2.

In the high, forested Weald of the Regni, where the iron-rich hills rise above the valleys now known as Wadhurst, there existed in secret a cult unlike any recorded elsewhere among the tribes of southern Britannia. This cult revered Nitharca, a Goddess whose name was whispered with awe and fear. She was said to be of terrible beauty, her hair a living flame, her laughter spilling like fire through the woods, and her eyes promising both ecstasy and ruin.
The Regni believed her body to be a temple itself. Within this sacred vessel, warriors, hunters, and seekers of wisdom would partake in rites of union—acts at once carnal and mystical, meant to awaken knowledge not found in scroll or stone. These gatherings were held upon solitary hilltops, among sacred groves, and within hidden hollows where the sunlight dared not linger. It was said that those who joined her in devotion glimpsed the threads of fate, their minds touched by the divine laughter and fervor of Nitharca.
Her followers, chiefly women of priestly station, kept meticulous observance of the cycles of moon and solstice. Offerings of rare herbs, woven garlands of red and gold, and the burning of iron filings in small braziers marked the beginnings of each rite. The ecstatic unions were both an invocation and a covenant, blending pleasure with insight, and leaving each participant changed, carrying a spark of her wisdom into the mundane world.
With the advance of Roman dominion and the slow spread of the Christian faith, Nitharca’s visage darkened in the folk memory. No longer solely a Goddess of wisdom and ecstatic communion, she became associated with seduction, and tales transformed her into a succubus of the night, a dark priestess whose laughter now warned of danger as much as promise. Yet among the secret circles of Regni priestesses, her older identity persisted: not merely a temptress, but a keeper of forbidden lore, the last flickering ember of a faith that celebrated the body, the mind, and the joyous terror of the wild.
Even now, in the moss-clad hollows and the ancient barrows of Wadhurst, it is said that those who listen carefully at dusk may hear the faint echoes of her laughter, and remember the once-living temple of Nitharca, who was, in every pulse of flame and shadow, the very soul of the Regni wilds.

—
From Edited Redacted article fig.2,

Nitharca ;- Among the pre-Roman tribes of southern Britannia, the Regni who dwelt in the forested hills and iron-rich Weald of what is now Wadhurst, Sussex, once revered a deity of both fear and fascination: Nitharca. She was said to be a seductress of unparalleled power, her hair aflame like the hearths of hillfort longhouses, and her laughter rolling through the woods with the infectious freedom of the wild. Tradition held that her body was a living temple, and that warriors and seekers might join her in rites of ecstatic communion, achieving what the elders called the “union of flesh with divine wisdom.” These ceremonies, secreted in secluded groves and atop isolated barrows, intertwined pleasure with insight, marking Nitharca as a deity whose gifts were as perilous as they were intoxicating. In later centuries, under the shadow of Roman domination and Christian suspicion, her name grew dark in the stories of common folk; she became likened to the succubus, yet the older memory endured among hidden circles of Regni priestesses, who remembered her not merely as a temptress, but as a dark priestess of forbidden knowledge—the last flickering echo of Sussex’s ancient, ecstatic mysteries.

Speculative;-

Neith → Νηΐθ ‘ Greek rendering of primal Goddess of Egypt.
Arch (root) → ἀρχή

Gematria Notes of NIThARCA

From Crowley’s 777;-

Summary Prompts: gematria 682;- nakedness, bless, evil, side, cut, lie, fourth, burn, plain, forest, thirty ,fourth ,harp, cord, help, glorify, remember, bone, lament, prolong, scatter, send, come, torment, weep, lay, go , feed , receive, depth.

These elements born from gematria are thus to be considered and used in ritual. They are the keys, together with the seals and sigil as shown.

Neith is the primordial Mother of creation, creation exists by MAat.
Neith is AinSophAur and MAlkuth, MAat is Otz Chiim in perfected form, balanced.
“The universe is Neith’s loom; Ma’at is its warp and weft.”

If Maat arises with Neith’s act of creation, then its necessary reflection, Isfet, also arises; this tension is dynamism, and therefore unending potential. Neith gives birth to the temple, its structure of strength and beauty adhere to the Laws of Maat that the temple stands. Isfet is the underlying pressure affecting it, Isfet is the moving sand under its feet, the harsh winds upon its exterior, the lightning and storms weathering the perfect ashlar.
Maat is the order and template of creation, the golden ratio, Pi, and all constants that nature must conform to in order that it exists. So it is that Isfet challenges that order that there is ‘evolution’ or ‘ degradation’ , Maat is template, measure, and rhythm. Isfet is deviation, erosion, and excess.
Neith Creates, she is the observer of her creation. Maat is the template and parameter of her creation, and Isfet induces the random will, the chaos, the anomolies. Maat is hidden but is existent in all things, Isfet is known in all things and is called ignorance, but it is more un-knowing, what if !

The Conjuration of the (Arch) Neith

From:Plutarch’s De Iside et Osiride (“On Isis and Osiris”)

Greek (summoning form):
Σὺ εἶ πᾶν τὸ γεγονός, καὶ ὅσα ἦν, καὶ ὅσα ἐστὶ, καὶ ὅσα ἔσται, καὶ τὸ ἔμπειλον οὐδεὶς ἀπεκάλυψεν τὸν πέπλον σου.

Phonetic Transliteration:
Sý eî pân tò gegonós, kaì hósa ēn, kaì hósa estì, kaì hósa éstai, kaì tò émpeilon oudeìs apekálypsen tòn péplon sou.

English (summoning form):
You are all that has happened, and all that was, and all that is, and all that will be, and no one has uncovered your veil.

From the Text of Esna (aka the Divine Canal) ;-

O Neith, Mother of God, who created the body of Ra,
Creative waters who made what is and created all that exists,
Great primeval mother, who bound the seed for gods and people—hear me.

You who kept creation healthy in the womb, who nurtured creation when it came forth,
Beloved creation, by your life-giving milk—
Rejuvenate creation’s body; let it live and be mighty through your sustaining power.
It is in the likeness of divine majesty,
For it resembles the splendour of a billion Suns.
The river of the celestial canal (The Milky way)

Neith, Mother of God, Lady of the Divine Canal,
Foremost of your temple, you who made what is and created what exists—
Be present.
The Arch of the Temple that holds aloft the Canopy
The keystone, the first and foremost,
the Eḇen haŠeṯīyyā of the builders,
The gift of oak upon its completion,
and the sprig of Acacia at its ruin.
Arch Neith, whose name is lost and shielded,
forgotten and erased,
whose nature has been veiled,
Come that I may uncover you,
Come that I may name you,
Come that I may reflect your nature.
Come, that I may Know you.