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Part 3: Conflict, War and the Enlightened

One of the paintings completed around the same time as Les Bergers d’Acardie, (The Arcadian Shepherds, version II) is A Dance to the Music of Time (c. 1640). Not only does this painting contain a simple reference to the Great Pyramid, it also contains a link between the pyramids and the star constellation of Orion.

  In the sky we see Orion, arms outstretched, standing in a chariot being pulled by flying horses and accompanied by angels, and there appears to be a golden ring, band or halo of light surrounding him.

Again, we find that a line drawn from the bottom left and right hand corners of the painting to the feet of Orion are at the angle of 52º – same as the Great Pyramid. As said, in ancient Egypt, Orion represented the 'ressurection god' Osiris and also his son and reincarnation Horus - who avenges his own death and/or that of his father, against the god Set .

  By drawing in these angles which become the sides of the Great Pyramid, we find that Orion (Osiris) is standing on top of the apex – meaning that this pyramid belongs to Osiris. But this isn’t the only meaning we can derive from this.

It’s possible that Poussin was aware that the discovery of the missing capstone was seen by the initiates as symbolising the return of Osiris – the ‘Light of the world’.

  The following quote is by author Peter Lemesurier:

‘There is some evidence in the ancient texts that the eventual addition of the capstone (and thus the completion of the pyramid to its full design) was seen by the initiates as symbolising the return of the Light to the world in the Messianic person of the resurrected Osiris’.

  The Great Pyramid Decoded, Element, 1977

Furthermore, at Giza the constellation of Orion moves across the southern sky, as shown in the chariot that is pulling him, so we could say that we are looking at the north face of the Great Pyramid and also looking south. If so, then the Sphinx would be to the left and south of the Great Pyramid, and here the Sphinx is being represented by the bust of the Roman god Janus who has two faces back-to-back looking in two opposite directions.

  Janus is the Roman version of the ancient Egyptian god Aker  or Ruty who was depicted as two lions back to back and also looking in two opposite directions. In the Gospels these two faces or lions – often a lion and an eagle, or even one eagle with two heads, again looking in opposite directions – are the two Johns – John the Baptist and John the Evangelist. John the Evangelist was often depicted with effeminate or feminine features and is therefore disguising the fact that he is really a female. Some say that John is really Mary Magdalene, which is something that Leonardo Da Vinci alludes to in his painting of the Last Supper.

  These two figures (one male and the other female) are the two opposite aspects of Jesus who is based on Horus, the son and reincarnation of Osiris. These two opposite natures are also his father Osiris and his mother Isis, which seems to be bringing us to the conclusion that Jesus, as was Horus, was believed to be androgynous or that in alchemical symbology he represents the 'third force' and the perfect 'balanced' human being. This is the real meaning. Not that Jesus was married or had a relationship with Mary Magdalene, but that to reach up to heaven, man has to be 'balanced' with his feminine side. Its this internal balance, union or fusion in consciousness which produces the Grail - enlightenment. As always, people have taken these stories too literally.

  Enlightenment and fusion takes place at the centre of the head. And as I first revealed in my contribution to The Serpent Grail, this explanation leads us to identify the head, which was said to have been worshipped by the Templars, known as Baphomet.

  However, we are also being led to identify the god 'Aker', and following logically from this it was perhaps hoped that we would consider the possibility that there were originally two Sphinxes on the Giza plateau.

  No doubt that Poussin is bringing attention to this “truth” by placing the bi-directional-looking Janus on the point where the Sphinx would be located in relation to the Great Pyramid – perhaps intimating that there were two Sphinxes – each one looking in the opposite direction – one east and one west.

  In Poussin’s painting the feminine face is looking east while the face of the older, bearded male is looking west, which would be correct if we are looking south – as the female is associated with the east and the male is associated with the west. This detail is again also bringing attention to the two opposites.

  Each of the four dancing maidens are said to represent the four seasons, and they dance in a circle, which reveals it is a cycle. Summer is the maiden in white and gold who is facing north, winter is the maiden behind her in black who is facing south, autumn is the maiden in red who is facing west, and Spring is the maiden in blue and red who is facing east. However, after we add the 52-degree sides of the Great Pyramid, we find that there are three maidens inside the triangle or pyramid – giving reference to the Triad – positive, negative and neutral.

  Its interesting that the seasons are being symbolically referenced here, as are all cycles, and this also means the cycle of precession, because if the earth's axis were upright, there would be no seasons - only continual springtime. In many places the earth would be a virtual 'Garden of Eden'. Perhaps it was believed that this was the condition of the earth during the 'Golden Age' and that with the return of Osiris as also belief in the return of Jesus - being the return of this ancient wisdom - there would be a return to the same conditions - "the land and the king are one".

Surprisingly, there are no 23.5-degree lines in this painting, however, the reader may have noticed that the paintings we have just looked at and which give emphasis to the Great Pyramid, all feature haloes of light and often around the head of a Shining One.

When the hidden design is revealed, we find that the halo of light then becomes positioned on the apex of the pyramid - much like this relevant image of the sun taking the place of the capstone.

A Dance to the Music of Time isn't the only Poussin painting that contains a link between both the monuments of Giza and the constellation of Orion. See here:

From Poussin we will now move on to another great artist . . . Leonardo Da Vinci.

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