Roman Tintinnabulum, C. 100 BC - 400 AD

In ancient Rome, a tintinnabulum was a wind chime or assemblage of bells. A tintinnabulum often took the form of a bronze phallic figure or fascinum, a magico-religious phallus thought to ward off the evil eye and bring good fortune and prosperity.

Tintinnabula were hung in the doorways of houses and shops, often together with a lamp, as a protection against evil spirits. The name comes from the inclusion of bells that would have hung from suspension loops as seen in this example.


Dutch Christians in the middle ages wore badges shaped like flying, erect penises as a sign that they had made their pilgrimage.

They got the idea from the Romans, who used them as protective amulets. They were called fascinum and were considered to be the “embodiment of the divine phallus.”

That’s where the word fascinating comes from, by the way. From flying penises.

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  • An Account of the remains of the worship of Priapus, lately existing at Isernia, in the kingdom of Naples; in two letters, one from Sir William Hamilton to Sir Joseph Banks and the other from a person residing at Isernia; to which is added, A discourse on the worship of Priapus, and its connexion with the mystic theology of the ancients (1786).
  • A Discourse on the Worship of Priapus, and Its Connexion with the Mystic Theology of the Ancients. Richard Payne Knight, esq. London: R.P. Knight, 1865
  • Roman Fascinum.
  • In ancient Roman religion and magic, the fascinus or fascinum was the embodiment of the divine phallus. The word can refer to the deity himself (Fascinus), to phallus effigies and amulets, and to the spells used to invoke his divine protection. Pliny calls it a medicus invidiae, a “doctor” or remedy for envy (invidia, a “looking upon”) or the evil eye. […] The English word “fascinate” ultimately derives from Latin fascinumand the related verb fascinare, “to use the power of the fascinus,” that is, “to practice magic” and hence “to enchant, bewitch.”

Verbum phalli et eius synonyma:

cauda, ae (f)
caulis (cōlis, cōles), is (m)
columna, ae (f)
contus, ī (m)
fascinum, ī (n)
gurguliō, ōnis (m)
hasta, ae (f)
membrum, ī (n) virīle
mentula, ae (f)
mūtō, ōnis (m)
nervus, ī (m)
obscēnum, ī (n) virīle
pālus, ī (m)
pars, partis (f) virīlis
pecūlium, ī (n)
penis, is (m)
pēnsilia, ium (n pl)
phallus ī (m)
priāpus, ī (m)
radius, ī (m)
rutābulum, ī (n)
scāpus, ī (m)
scēptrum, ī (n)
sīcula, ae (f)
sōpiō, ōnis (m)
tēlum, ī (n)
tenta, ōrum (n pl)
trabs, trabis (f)
vāsculum, ī (n)
vēna, ae (f)
verētilla, ae (f)
verētrum, ī (n) virīle
verpa, ae (f)
virga, ae (f)
vōmer, eris (m)

lōrum, ī (n) – membrum virile flaccidum
pipinna, ae (f) – exigua (parva) mentula

Sacred Idolatry, or attainment of inner gnosis through sensorial perception of outward form, harnesses at once the tri-form sorcerous moduli of Ingress, Egress and Congress; it achieves this by unifying the gemini of Embodiment and Transcendence. The Fascinum of Sensorial Congress becomes a unitive enchantment, transcending the dual nature of Self and Other. In this wise, Self is to Other as Idol is to God; together the dyads form what Giordano Bruno calls ‘The Living Mirror’, and what the Witch calls the Plot or Field of Art. Containing all things, this Field is all-giving, but is also suggestible, as it contains the shadows of all things. The Living Idol is thus the correctly-rendered fleshing of Divine Void; the Sum of Entity infinite, and the Mask of Entity finite.
—  Daniel Schulke, Idolatry Restor’d