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Plate 1 A full moon drawn as a circle between two crescents, the waxing crescent on the left and the waning crescent on the right, their backs turned to the full moon

Triple moon (triple goddess)

A full moon between a waxing and a waning crescent: the sign of the Triple Goddess of Wicca and Goddess Spirituality, whom the Covenant of the Goddess calls the goddess “of the waxing, full, and waning moon”.

Pagan and Wiccan symbols. Also called maiden mother crone, maiden mother crone symbol, three moons symbol, triple goddess, triple goddess symbol, triple moon, triple moon meaning, triple moon symbol.

Meaning

The triple moon draws three phases of the moon side by side, the waxing crescent, the full moon and the waning crescent, for one goddess in three aspects. The Covenant of the Goddess, a Wiccan organisation, says its members honour “the Triple Goddess of the waxing, full, and waning moon, and the Horned God of the sun and animal life” (the Horned God is her partner), and that its groups meet on the new and full moons. Many read the three phases as three ages of a woman’s life, maiden, mother and crone; the theologian Carol P. Christ calls that image “widespread in contemporary Goddess Spirituality”. The symbol belongs today to Wiccans and other modern Pagans, and to the Goddess movement.

Origin and history

The moon’s phases are as old as the sky, but the goddess they stand for here is a modern figure, and her history is mostly a history of scholarship. Ronald Hutton, the historian of modern Paganism, points out in a 2025 Gresham College lecture that in only one late ancient text, the Metamorphoses of Apuleius, is a female deity declared the embodiment of all goddesses, the mistress of nature, and represented by the moon. That image came back with the Romantic poets of the early nineteenth century, and from them, Hutton says, it can be traced into English literature, Robert Graves’s The White Goddess among it, and into the standard goddess of modern Paganism through the occultists Aleister Crowley, Dion Fortune and Gerald Gardner.

The idea of a goddess with a maiden and a mother in her came from a Cambridge classicist. In Prolegomena to the Study of Greek Religion (1903), Jane Ellen Harrison argued that a Greek goddess took a twofold form that resolved “into the two stages of a woman’s life, as Maiden and Mother”, and that the many threes of Greek religion, three Moirae, three Charites, three Horae, grew out of that pair. Hutton sums up her view as a single goddess in three aspects, “the first two being maiden and mother”. The writer Judith Laura, quoted by Christ, calls the Triple Goddess whose three aspects relate to moon phases “a 20th century idea, initially most fully developed by Robert Graves and a few decades later adopted by spiritual feminists”.

Maiden, mother and crone

Christ writes that the Triple Goddess “honors three ages of women”, and that Goddess feminists have probably made more rituals for “croning”, the passage into old age, than for menstruation or birth. Robert Graves used several sets of names for his Triple Goddess, Maiden, Mother, Crone among them. Z Budapest, who acknowledged her debt to Graves, turned the figure round: in Christ’s reading, what had been a symbol of men’s relationship to women became one of a woman’s relationship to herself, and the death goddess became the Wise Old Woman close to death. The three are not settled. Some in the Goddess movement have proposed a fourth stage, the Queen, for the years between menopause and old age, and others object that the trio defines women by their reproductive roles.

Is the triple goddess ancient?

Not in this form, say both a historian and a theologian of the Goddess movement itself. Christ agrees with Judith Laura that “the Triple Goddess is not an ancient symbol”: the earliest goddess figures of Crete are single images that “do not come in threes”, and the trinities Harrison wrote about “were never Maiden, Mother, Crone, but rather triple Maidens”, while the Fates are three crones. Hutton’s lecture follows a related theory, a single Great Goddess worshipped across Neolithic Europe, which younger archaeologists rejected in the 1960s and 1970s for want of decisive evidence; the question is open again, and most experts, he says, take “a position of cautious agnosticism”. Christ’s own conclusion is that Goddess Spirituality is “a new creative synthesis of aspects of the past combined with contemporary insight and experience”.

Where you’ll see it

On altars, on ritual regalia and in jewellery. The Museum of Witchcraft and Magic keeps a triple moon diadem that was part of the ritual regalia of Audrey Harvey, and on the brass altar pentacle of Anne Darby in the same collection two crescents stand for “the Lady or the Moon” (see the Wiccan pentacle). A single crescent with its own history across many cultures is on the crescent moon page.

See also

Horned god, Crescent moon, The four elements, Wheel of the Year, Chakras.

Sources

  1. Basic Philosophy, Covenant of the Goddess
  2. Maiden, Mother, Crone: Ancient Tradition or New Creative Synthesis?, Carol P. Christ, 8 August 2016, Feminism and Religion
  3. The Modern Goddess, Professor Ronald Hutton, lecture of 8 January 2025 (text), Gresham College, text
  4. Prolegomena to the Study of Greek Religion, Jane Ellen Harrison (Cambridge University Press, 1903), Project Gutenberg, ch. VI, “The Maiden-Trinities”
  5. 2974 – Triple Moon Diadem, collection record, Museum of Witchcraft and Magic
  6. 3491 – Brass Pentacle, collection record, Museum of Witchcraft and Magic

The same shape elsewhere

Researched, edited and approved by Rory Hansen before publishing. Last reviewed October 10, 2026. How we research

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