Thus begins the celebrated book Hamlet’s Mill by Giorgio De Santillana and Hertha Von Dechend first published in 1969.
Through studying some of the world’s most incomprehensible and rarely-known myths, the authors conclude that ancient man knew and understood the complicated movements of the Earth, the stars, the heavenly spheres, and most importantly the complex Law of Precession, known as the Precession of the Equinoxes – and long before the Greek astronomer, Hipparchus ‘rediscovered’ it sometime between 162 and 126 BC.
The above extract describes quite succinctly the almost impossible task that had been laid before me: to understand why an unknown source culture; a very ancient people of advanced intelligence, had encoded clues to this knowledge – a mystery to which the authors of Hamlet’s Mill could offer no solution. After all, it was enough that they brought these encoded references to public attention.
It may be difficult to believe, but indeed strong evidence suggests that a methodical, technical knowledge has been around long before the conventional dates given to human prehistory* and that an unknown, advanced culture had encoded traceable ‘hints’ that would one day lead the astute, intelligent and perceptive to the fount of their knowledge.
*This statement is supported by the authors of Uriel’s Machine: The Ancient Origins of Science
by Christopher Knight & Robert Lomas. (Arrow Books, 2000).
Quote: ‘Our analysis of the failings of prehistoric theory seemed to be pointing towards the pre-existence of knowledge’ . p. 32.
The key medium through which this knowledge could be strategically delivered and widely disseminated to those who would one day understand it, are the time-enduring myths and fables that were passed onto each generation via oral tradition and simple folk who were not aware of the cosmological secrets these moral “fairy tales” contained.
This ancient cosmology which has been encoded in numerous sources, is about the truth of man’s immortality as many have suspected – a knowledge that is still being largely ignored and ‘officially’ denied us. But furthermore, this ancient cosmology leads us to the hidden processes behind all cyclic phenomena and more importantly, the ‘birth-death-rebirth’ cycle, which can be observed everywhere in nature.
To preserve this knowledge it’s now becoming increasingly obvious that an ancient brotherhood or priesthood with time on its hands, had originally encoded key segments of this cosmology in almost everything man-made and conceived, hoping that the “jigsaw” pieces of this elaborate code – when looked at in total – would one day provide man with proof of his own spiritual immortality as well as the secrets pertaining to the collective psyche and how it is intimately linked-in with the processes that underlie our reality.
The first question that comes to mind is, who originally began encoding this data?
Based on the fact that much of this information is conceptually ‘shamanic’, my guess would be that it was the people behind the ‘cult of the serpent’ – the ‘Shining Ones’ – which, in my view was most-likely a shamanic-based priesthood which has ancient origins and is still in operation today – although much of the knowledge relating to these ‘Shining Ones’ has been kept hidden from us for almost an eternity by the Catholic Church, and other organised religions – especially the three main Abrahamic religions, Christianity, Islam and Judaism.
What is astounding is the fact that many of these fragments of ‘connective,’ encoded information are related to the earliest forms of Gnosticism and the Arthurian Grail myths and legends, and also seem to be leading to the Giza necropolis in Egypt – especially the Great Pyramid and its North-South alignment with the star constellations of Orion (South sky) – said to be associated with Osiris the ‘good god’ (also a god of rebirth and resurrection) – and Draco, “the Dragon” or “Serpent,” (North sky) – said to be associated with the brother of Osiris, the ‘evil god’ Set or Seth.
We will discover that the theme of Duality is a common one and runs throughout everything we are going to be looking at in these presentations. The principal theme of Duality has a purpose, in that by giving reference to the dual opposites in nature, attention is really being brought to the “third thing” that exists between them – the neutral point of balance – which can lead to inner wisdom, knowledge and enlightenment.
Indeed BALANCE is everything, and meant everything to this unknown, ancient 'source culture' as we will discover. In this respect, one could say that symbolically, the sacred Giza plateau adopts a neutral and central, 0º position on an axis positioned between the opposites of “good” and “evil” – the positive and negative polarisation of the Earth and the Cosmos – and therein lies a clue as to the true purpose of Giza and the Great Pyramid which I found to be intimately related to the legends surrounding the ‘Grail’ and which has its origin in ancient Sumeria and beyond.
In fact, the Great Pyramid encompasses many of the principles of the Grail mysteries and more besides as I discovered in the course of my research. This is what we would come to expect if the Grail is also associated with man’s ‘immortality’ – something that the ancient Egyptians appear to have been obsessed with and something that still continues to mystify us today. Some parts of this complex puzzle have already been uncovered by joint authors and researchers Graham Hancock and Robert Bauval. Of especial interest is Bauval’s OCT (Orion Correlation Theory).
Although much has already been uncovered, what hasn’t yet been acknowledged is that the mysterious monuments that stand so silently on the Giza plateau are really symbolic pointers that can help us to ultimately understand the "mechanical" processes that underlie reality and how these processes are closely tied-in with the collective human psyche. Not only this, but despite what we may believe today, they also provide clues as to how the ‘immortal human soul’ can escape the repetitive incarnation cycles associated with these processes, as was once deeply believed by our ancestors and with the utmost conviction.
What I discovered points to a ‘Golden Age’ in our past when the principles of this knowledge associated with the enlightenment experience were practised and which no doubt produced the first ever religion, or all-encompassing ‘belief system’ based on man’s concept of the Centre – which is shamanic in origin. This was a working cosmology, in which all the religions we know today have their origin but still remain peripheral to – even though this Centre or Hub of the whole wheel is also the unconscious and hidden ‘nucleus’ of each.
The people whom this ‘system of knowledge’ belongs to, and the ancient serpent-worshipping cult just mentioned, could only be the ‘Shining Ones’ – also known (depending on the cultures who named them), as the Abgal, Abkarlu, Akeru, Akhu, Anak, Anannage, Ancient Masters, Annedoti, Angeloi, Angels, Annunaki, Apkallu, Archangels, Devas, Deiwos, Egrogoris, Elders, Elohim, Feathered Serpents, Fish-Beings or Fish Deities; Gibborim, Genii, Grigori, Jabaariyn, Jin, Nagas, Nephilim, Neteru, Nommos, Rephaim, Rishis, Seraphim, Seven Sages, Serpents, Shemsu Hor, Tuatha dé Danaan, Urshu, Watchers, Monitors . . . the list goes on and on.
These Shining (“Mighty” or “Majestic”) Ones – also illustrated in the stars and constellations through which the stories of their lives were conveyed – were seen as “gods”, “sons and daughters of gods” and ‘shepherds of men’, whom it is said, taught and civilised mankind.
More recently, we find that many prominent occultists of the late 19th and early 20th centuries claimed to have been in touch with these beings, which they said exist in another dimension.
Alice Bailey called them the ‘Ascended Masters’; Aleister Crowley referred to them as the “Hidden Chiefs”; Idries Shah called them the ‘Guardians of the Tradition’; while John Bennett named them the ‘psychoteleios’ or “perfected ones”.
Others refer to them as the ‘Ancient Ones’, the ‘Immortals’, the ‘Hidden Directorate’ and the ‘Children of Seth’. Recently we find these beings also under the name of ‘the Nine’ – supposedly the nine Ennead of ancient Egyptian religion.
It has been established that the term ‘God’ in the Bible, Elohim, is in the plural and means, ‘Bright’ and ‘Shining’ and also translates as “These Beings”. Therefore the term ‘gods’ encompasses not only this early shamanic-based culture of highly-skilled and intelligently advanced individuals – who over time and because of their scientific and astronomical knowledge, their spiritual wisdom and their supposed shamanic, extrasensory abilities, made them appear as “gods” . . . but also the supernatural “beings” (also “Shining Ones”) that these shamans communed with and which exist in the psychical or ‘other dimensional’ realms, and who no doubt also had an influence – both good and bad – in shaping human destiny. All were thought of as “gods” by lesser developed people who lived peacefully aside them in the surrounding countries and domains.
According to the Illuminati, who in recent years have emerged from the shadows and have come forward to dispel the disinformation, lies and propaganda that's been said and written about them, we are told that their oldest writings declare that the Order, which is Gnostic in principle, was founded by the Illuminators – the Phosters (again, “Shining Ones”), to impart mathematical knowledge to the wisest peoples of the Earth – i.e., nomadic holy men, mystics and philosophers.
See: The Illuminati by Adam Weishaupt (pseudonym) Hyperreality Books, 2011.
My own findings, suggest that a number of these advanced people the Illuminati call the Phosters, survived a major global catastrophe. The date of the initial event is still to be determined. Evidence suggests – also supported by Masonic symbolism – that the original perpetrator was a comet, and that the survivors of this advanced race or culture, while preserving their knowledge in the monuments they built and the myths that they inspired or created, taught the rest of mankind how to survive the new conditions on Earth.
Although the reality of this mysterious ‘godlike’ culture is not taken seriously by the majority of mainstream historians, not alone the ‘worldwide catastrophe scenario’ which is forever being concluded in individual research, much has now been written about the evidential presence of this unknown culture in the distant past and throughout history. And today through authors and researchers such as the late Zecharia Sitchin (Annunaki), Christian O’Brien (Elohim), Robert Bauval and Graham Hancock (Neteru, Akhu, Shemsu Hor), Andrew Collins (Elders), Christopher Knight & Robert Lomas (Grooved Ware People), and Tracy R. Twyman (Watchers) the subject is now very popular and not without reason as we are discovering more about this primordial ethos everyday.
Evidence suggests that these people – humans – were ‘scientifically advanced’ and believed to possess certain psychic or clairvoyant abilities which they, or those around them could often use to their advantage, in that they could easily manipulate those who believed they held supernatural powers akin to “godhood”. In addition to this they were expert magicians and could therefore easily be perceived as being in contact with, or holding the “power of the gods” through their advanced knowledge.
They were intrinsically shamanic in origin, as their cosmology contains the same key concepts we find in the shamanic tradition. It would seem that their ‘power base’ evolved from the influence the early primitive shaman had over his tribe and his people which then developed into a Gnostic ‘brotherhood’ or ‘priesthood’, and over millennia into a sophisticated and scientifically advanced community. These people are still with us today as the Illuminati.
In any case, it is now obvious to me that the original ‘Shining Ones’ knowledge was based on the ‘mid-point’ or ‘neutral balance’ between all opposites, including “good” and “evil” and that it was this principal which these advanced people tried to uphold, preserve and maintain – even when some of their own kind had fallen into the illusions of duality taking the greater part of the human race along with them.
My own view is that this knowledge along with geophysical data concerning the Earth’s tilted axis is greatly preserved in the monuments of Giza as a code, and that one must first acknowledge and understand what this ‘Neutral Point’ in consciousness is before one can begin to decode it and this is the purpose of these presentations.
In his book, At the Edge of History (1989), William Irwin Thompson reflects on the fact that the wisdom and knowledge preserved in these myths show that the simple and primitive cultures that presented them, are not the beginning of something but the end of something else.
Considering the technology we have today, and the myths that seem to allude to a previous technical and scientific era, one could be forgiven for suggesting that mankind has perhaps come ‘full circle’ and that this has happened many times.
Personally, I certainly did not set-out to tackle this particular mystery but it was inevitable that I would eventually be led onto this path having first made a major discovery based on encoded information in several Baroque-period paintings (17th century) that on the surface seemed unrelated to the evidence provided in Hamlet’s Mill.
As described in the above extract, the mythical terrain is difficult: the evidential but subtle ‘key references’ – comparative data – found in myths from different nations and cultures, and even the cultures of divided continents, are frequently interwoven with nonsensical schemes and plots and conveyed via a narrative that is often florid and tiresome, and so its sometimes impossible to place what is understood into some kind of logical, rational order. But I am certain we are now close to understanding exactly why our distant ancestors encoded these clues and references . . . ‘keys’ to the profound knowledge they held in their capable grasp.
During the course of this research, and before my findings began to dovetail quite naturally with the astrophysical themes given in Hamlet’s Mill, I discovered that a large number of the world’s major literary works, architecture, and various works of art (both ancient and modern) contain hidden clues; small fragments of significant data: pieces of a “giant jigsaw”, some of which seem to have been deliberately placed, intentionally encoded and with intelligent design. I discovered that this encoded information is linked to an ancient ‘system of knowledge’ developed by a mysterious, primordial, obviously, shamanic-based culture known universally as the “Shining Ones”. This peculiar culture seems to have all but vanished – although its influence is continuous and very much alive as it has always been.
In my written works I have gone some way in uncovering the existence of these ancient shamans as well as reveal the influence they had on society and still have today. One example is our many traditions. In these presentations, I wish to deal with the ancient and secret knowledge – incorporating science, religion, mysticism and philosophy that hundreds of authors and researchers have “wrestled” with for decades to understand, simplify and clarify. Many have failed or could only go so far, because it is indeed a fact that we tend to concentrate separately on one theme or subject at a time without recognising that everything is deeply connected.
This ancient knowledge is very different to the knowledge we understand today, in that it was/is more holistic compared to our own, which is fragmented; divided into separate subjects, fields of study and disciplines and has no system to it other than each subject being sectioned and compartmentalised between A and Z. In comparison to ours today, the ancients had a 'system of knowledge' based on correspondences and the hidden connections between things, as encapsulated in the Hermetic maxim – “as above, so below”.
Their knowledge was also communicated through advanced mathematics and sacred geometry that reflected the workings of nature and was imbued with a profound wisdom and spiritual excellence, which is more akin to the ‘perfection’ we are supposed to be evolving towards rather than the ‘humble beginnings’ we have “evolved” ‘from’, as is generally believed.
I would emphasise that like today, none of the early civilisations we know of had a complete and thorough understanding of this ancient ‘system of knowledge’ which belonged to a former time in man’s long history. Its clear that these ancient cultures owe their development to the more ‘elementary’ tenets of the cosmology that had been divulged or passed onto them: but even so, its clear that they didn’t know the whole story or picture, and what had been passed onto them was often fragmentary, also misinterpreted, misconceptualised and further degraded by the new interpretations or belief systems that were forever springing up, and so in the process much of this original ‘core knowledge’ became buried and hidden over time.
However, by and large, there have always been the initiated amongst us who have understood this ‘system of knowledge’, and so it’s indeed possible that a number of said individuals felt the need to deliberately encode certain ‘key themes’ belonging to this knowledge in the relevant sources throughout history. I have found this to be a fact.
The fragments of cleverly-encoded data pertaining to this ancient cosmology turn up in various religious literary works: they turn up in the Bible, in the Gospels (those that are included in the Bible and mostly those that have been excluded from it), and in many of the well-known folk-stories, allegories, fables and myths from around the world – as made known to us by the authors of Hamlet’s Mill.
They also turn up dramatically in many so-called ‘factual events’ that have been recorded, and all are accompanied by what we find in esoteric literature and symbolism – especially the Hindu scriptures, and particularly, the Alchemical, Hermetic, Cabbalistic, Sufi, Masonic, Rosicrucian, Gnostic, Templar, Theosophical, mystery schools. We also find this ancient knowledge encoded in the buildings and structures erected, not only by our distant and erstwhile ancestors, but also by certain individuals living in our own times – and which even now remain a mystery to many of us.
Of course, one of the richest veins associated with this ‘underground stream’ are the Arts – sculptures, paintings, illustrations that contain a profusion of symbols, secret codes and sacred geometry, some of which we have already seen. If we really are dealing with a code in which an ancient belief, religion, cosmology or veritable ‘system of knowledge’ has been preserved, then evidence shows that this information was:
1), symbolically encoded when many of these mythological stories and other works and texts were first being conceptualised, disseminated and cultivated – and,
2), also added to by more data being inserted into these sources throughout the centuries and as time went on along with certain works of art produced by those who were initiated into this knowledge.
It’s only natural that we also find many modifications and amendments given to the original data, and in respect to our current understanding relating to different periods in history – i.e., those times when the data was revised in some way or perhaps supplemented.
This is evident in the small changes and additions that have been made to the Phoenix and Grail myths throughout history – to give just a few examples. Many of these pieces of information will often lead us on a highly convoluted trail of ‘double’ and sometimes ‘multiple meanings’ – the life and Crucifixion of Jesus being a typical case in point.
It must be said that the story of ‘the Christ’ or ‘Saviour’ is really part of a much bigger story – a ‘bigger picture’ that has its origin in the world-wide shamanic traditions. When each, or maybe even a few of these clues are spotted, their significance is easily overlooked, ignored or explained away as something mundane or at best a ‘coincidence’. However, the deeper meaning – i.e., what these clues are all pointing to – can only be seen when looked at in total.
Figure 6: The tree at 23.5 degrees.
The ancients calculated the ‘Great Year’ of the Precessional Cycle to be 25,920 years.
The Platonic number 25,920, also known as the ‘Mythical’ or ‘Canonical number’, is again a roughly correct or overall figure – favoured because being based on multiples of nine, it was easy to remember and was easier to encode. - e.g., 2 + 5 + 9 + 2 + 0 = 18 . . . 1 + 8 = 9.
References to the number were again placed in the earliest myths and folk stories using fractions of this number, all of which again reduce down to nine, which when multiplied, added or subtracted with each other, can result in the Platonic number of 25,920.
Keeping within the 360 limit of a circle, the numbers below are each related with the time-related, celestial mechanics of the Earth resulting from the ‘law of precession’.
9, 12, 18, 27, 30. 36, 54, 63, 72. 108. 360.
Indeed, it has been noted that the numbers above, all of which reduce down to the number 9, have been encoded in many myths around the world, and as we have seen the numbers of 12, 30, 360 and 72 all appear in the myth of Osiris.
The reader will remember that in the Osiris myth, Thoth won a 72nd part of every day which amounted to the extra five days of the year - possibly resulting from the tilt of the Earth's axis. Also, Osiris was tricked by his evil brother Set and became trapped in a coffin nailed down by "72 conspirators".
How is the number 72 an important number related to Precession?
72 is a key precessional number – in that it takes roughly 72 years for the Sun to move only one degree backward along the Ecliptic.
Unfortunately, Precession occurs at a variable rate so current estimates given to the Precessional Cycle are 25,770, 25,776 and 25,826 years. For general discussions, an overall figure of 26,000 years will suffice.
Why does the duration of the Precessional Cycle vary?
Again, the duration can change according to the period of the ‘Eccentricity Cycle’ – the orbit of the Earth around the Sun, which over 100,000 years moves from a circular orbit (perihelion – closest to the Sun) to an elliptical orbit (aphelion – furthest from the Sun).
This variation in orbit affects the length of the Precessional Cycle, which over a 100,000-year period, can change drastically.
In any case, current estimates give the number 25,776 as the correct one, as it has been calculated that the Sun takes 71.6 years to move a degree in the precessional cycle. 72 is therefore an approximation and some have used this to debunk and vilify the view that the Osiris myth carries important information about the Law of Precession.
However, as stated by Graham Hancock, it would have been difficult to say that Set was assisted by ‘71.6’ conspirators – hence the reason why the Platonic number was used by the ancients which was close enough for one to grasp the “bigger picture”.
On the subject of ‘precession numbers’, many have tried to discredit Graham Hancock’s work in this regard by providing more accurate numbers. It’s true that although they are very close to ‘precise’, the numbers encoded in the myths – and which are all multiples of 9 – are approximate figures, and its what we would expect.
However, many of us do not realise that the main reason why these particular numbers are encoded in myth and many sacred buildings and temples around the world is because these numbers are associated with the cycles of nature and reality itself, and this is something I will expand on at the end of this section.
Now, how does this 'precession numbers' code work in first giving us a geophyical picture of the Earth?
How do they present to us a consistent geophysical picture of the Earth's and its orbital dynamics?
Let's go back to what we learned earlier in the Preliminary . . .
During the Spring and Autumn Equinoxes – being the two points in the year when the Equatorial Plane intersects the Ecliptic Plane – the Sun will rise exactly in the East and will set exactly in the West and so day and night are equal in length.
As mentioned, the Earth is spinning in an anti-clockwise direction, but due to the slow ‘clockwise’ shift of the axis due to precession, the point on the horizon where the Sun rises on the Vernal Spring Equinox is shifting to the west by just over four feet every year. Again, from our perspective on Earth, the Zodiac is seen to move behind the Sun in a clockwise direction – each sign being completed in a month and the whole Zodiac completed in a year. This is really due to the Earth’s anticlockwise orbit around the Sun, which again, takes a year to complete.
However, the Sun’s own orbit around the Zodiac is much slower.
Again at present, we are living in the ‘Age of Pisces’, which is said to have began around 1 AD, and so every year on the Spring Equinox – the Sun is seen to be rising against the Zodiacal constellation of Pisces. In other words, the Sun is moving backwards slowly and in a clockwise direction from Pisces towards the ‘Age of Aquarius’ – but won’t reach the constellation of Aquarius for another hundred and fifty years . . . Why?
Well, the total number of degrees in which the Sun travels around the Zodiac is again 360, as in a 360-degree circle. And so if it takes roughly 72 years for the Sun to move just one degree along this path, then it takes 2,160 years for the Sun to move through any one of the 12 Zodiac signs or constellations – again, each sign consisting of 30 degrees.
At present, the total number of years for the Sun to complete a full precessional cycle (again known as “The Great Year”) – being all 12 Zodiac constellations is 25,776 years. Although out by 144 years, this is still quite close to the mythical 25,920 years, which is simply based on 12 x 2,160 or 360 x 72.
Going back to the numbers encoded in the myth of Osiris, each of the numbers 12, 30, 360 and 72, can be multiplied by any of the others in the sequence so as to give the duration figures of different cyclical periods associated with precession.
For instance, 30 x 72 = 2,160 – again, being the number of years it takes the Sun to move through one of 12 star constellations or signs of the zodiac.
72 x 360 = 25,920 – being the number of years that the Sun takes to move through all the signs – i.e., once around the Zodiac.
30 x 360 = 10,800 – being the number of years it takes the Sun to move halfway through any one of the Zodiac signs – and 30 x 12 = 360 – which speaks for itself.
More significant is the fact that the Great Pyramid of Giza also incorporates these precession numbers, as we will discover in subsequent presentations.
What other advanced knowledge and wisdom do these simple numbers contain?
Earlier I mentioned the fact that many of us do not realise that the main reason why these particular numbers are encoded in myth and many sacred buildings and temples around the world is because these numbers are associated with the cycles of nature and reality itself.
For example . . .
In effect we could say that Osiris is "trapped" by the number 72 - representing the Sun's movement in the precessional cycle and therefore all cycles of nature as a result of the 23.5-degree tilt of the Earth's axis - the number 72 being also related to the number of years in an average human life span or cycle – being around three score years and ten.
72 is also related to the movement of blood in the physical body pumped by the heart – which on average is moving at 72 pulse beats a minute. On average we breathe 18 times a minute – 4 x 18 = 72. If we breathe 18 times a minute, then in a day we will have breathed 25,920 times.
We can see that he number 72 is also associated with our sexigesimal time-measuring system, which itself has been based on the Precessional Cycle.
Take a 24-hour day:
24 hours divided by 60 minutes is 1440. 1440 x 60 seconds = 8,640 – being a third of a precessional cycle in years.
Or, 1440 x 18 = 25,920.
Or, 18 x 24 = 432. 432 x 60 = 25,920.
So in effect, each breath we take corresponds with one year in the precessional ‘Great Year’. And again, one lifetime corresponds with one degree of the precessional cycle of 72 years. Of course these are general round figures, but if we are too precise in our measurements then we would never notice these correspondences telling us that all cycles are relative to each other.
Above all, we are being told that all cycles are basically the same cycle at different scales and frequencies: the larger the scale – the slower the frequency – the smaller the scale – the faster the frequency – and these cycles range from the rotation of galaxies to the spin and oscillation of subatomic particles . . . everything has a cyclical nature.
These numbers encoded within the myths as well as many ancient sacred buildings and temples, are not only about the cycles of precession . . . they relate to all cycles . . . the cycles of reality – the message being, that man is trapped within cycles of his own making, which is why his life-span and the number of breaths he takes in a lifetime is also related.
Could it be, that just as an individual's lifetime takes roughly 1 degree (72 years) of the Great Year cycle of 25,920 years, that in a collective sense, the evolution of man's development from humble beginnings to a sophisticated, scientifically-advanced stage, takes the duration of the whole cycle – the whole 25,920 years?
And if so, does this mean that man goes through the repeating pattern of either destroying himself or his civilisations are almost wiped out by a recurring major global catastrophe at the end-beginning point of this cycle?
Again, if so, then he would have to begin again at the start of the next cycle, until he becomes conscious of this and learns to do something about it – i.e., becoming consciously aware OF and AT this point in the cycle, so as to come off the cycle. Perhaps this is the real significance of the Alpha-Omega, - the end-beginning point of the cycle - as we will also discover in the course of these presentations.
The number 1440 has further significance.
As we know there are 1440 minutes in a day. 12 x 12 is 144.
Two times 72 is 144. When we multiply 1440 by 100, we get 144,000.
144,000 divided by 72 = 2000. 144,000 divided by 400 = 360.
It's interesting that in bringing attention to the work of author Bruce Cathie, author David Wilcock concurs that 144 is the fundamental “building block” of all sound vibration frequencies and is the fundamental Gematrian “frequency number” for light.
An esoteric understanding of cyclic phenomena then, is essential before we can understand the deeper significance of these numbers and their correspondences and so in being precise, one misses the point entirely. We shall come back to these deeper connections later.
Mather Walker is a specialist whose Website is dedicated to bringing to light the scientific and metaphysical knowledge contained within the Plays of Shakespeare – which he says were more likely to have been written by Francis Bacon whom many believe was a Rosicrucian. There is also evidence to suggest that with others, Bacon was directly responsible for the writing and dissemination of the two Rosicrucian Manifestos that first appeared in Europe in 1614 and 1615.
Walker’s essay about Hamlet, entitled Mirror for Everyman: A View of Hamlet's Midnight, is enlightening – especially in view of Santillana and von Dechend’s study which he acknowledges. In Walker’s view, Hamlet is the focus for “Everyman” – in that he represents the present condition of the human race . . .
The Earth losing its alignment with the Sun, means that the Earth lost its alignment with the ‘Ecliptic Plane’.
Again, the Earth’s axis is tilted by 23.43 degrees – meaning that the equator is tilted 23.43º in relation to the Ecliptic Elane – the Earth's orbital plane around the Sun.
The axis being tilted means that the North polar axis is no longer pointing to the Ecliptic Centre – the ‘still point’ location in the heavens it would be pointing if it were upright and aligned with the vertical Pole of the Ecliptic.
Walker’s words reflect man’s obsession with the vertical Pole of the Ecliptic, and the Ecliptic Centre, and his spiritual realignment with both. As we will discover, it’s possible that the Ecliptic Centre was seen by the ancients to represent the ‘spiritual source’ that Walker mentions.
It should be noted that in his essay Mather Walker also makes associations with the Great Pyramid of Giza and Francis Bacon's view that the pyramid and other ancient temples and monuments were built as models of the universe - a view also shared by the high-ranking Freemason Frank C. Higgins.
Following is a series of quotes attributed to Francis Bacon himself, who comments on his 'Pyramid of Philosophy' based on his seven principles of learning; each imagined to be stacked on top of each other and arranged like an inward-sloping pyramid - the apex or capstone being the mystical seventh.
These quotes from Bacon's books are important in a lot of ways, in that they indicate that Bacon, who again was a Rosicrucian and most likely known by Poussin as some researchers have suspected, was familiar with both the sacred geometry and the spiritual aspects of the pyramid as encapsulated in the Great Pyramid of Giza:
And as we will discover, these words are well founded and show that Francis Bacon was an initiate who understood the principles of esoteric knowledge and ancient sacred geometry and science I am attempting to uncover in these presentations . . . but returning to the skull and whom it might belong to . . .
We saw how the skull along with the loaves of bread in Elsie Russell's Vanitas paintings, are clear symbolic references that appear to be pointing to the ancient Egyptian god Osiris, the 'corn god' and 'god of wheat'.
We can conclude then that the skull belongs to Osiris. This is supported by the fact that the story of Hamlet is also based on the Osirian myth, in which Horus avenges his dead father and previous incarnation, Osiris, and that in the earlier stories of Hamlet, Osiris/Horus is disguised behind the names associated with the "proud owner of the mill" - symbolising the Earth's axis.
We will now return to Poussin's painting . . .
Next: the shepherd clothed in Black and at the centre, between his companions dressed in Red and White, appears to be holding a wooden staff (although it could just as well be the Shepherdess who is holding it), which is angled at 30 degrees from the vertical - an angle perpendicular to the sarcophagus which is at the angle of 30 degrees from the horizontal.
As is evident from these examples of many, the lance or spear of the hero St. George (who was based on the ancient Egyptian god Heru/Horus), is at the axis angle of 23.5 degrees, and therefore the lance/spear symbolises the Earth's celestial polar axis; conveying the message that this is what the spear of Horus really represents in the ancient Egyptian depictions of Horus slaying the serpent crocodile and hippopotamus associated with Set. Furthermore, the majority of these depictions show the lance or spear piercing the head of the dragon like the images of Horus who spears the head or eye.
As we will see, it’s possible that the message is this:
When the Earth became tilted, the pole first fell towards the head of Draco, the constellation of the dragon or serpent, and so one of the stars of Draco became the first Pole Star. Its no wonder that Set, who was associated with Draco, was then blamed for the “fall of man”, as played out in his murder of Osiris
Its interesting that high-ranking Freemason, Frank C. Higgins, mentioned Set (the Greek Typhon) as the Pole Star:
As we will see, Higgins' words about the ancient Egyptian Triad being related to the cycles of nature and human consciousness are correct; and its possible that the reason why Typhon (Set) was viewed as the Pole Star, is because the first Pole Star that the Earth's axis pointed to and which began the Cycle of Precession, was one of the stars of Draco, a constellation associated with Set. If so then this star is located in the head of Draco. What this star might be exactly, is something that will become apparent the further we go on, although there will be clues presented along the way.
The mythical terrain is a difficult one to navigate: we are literally dealing with centuries upon centuries of myth, metaphor and symbolism involving different cultures, but what is becoming clear is that the paradise known as the Garden of Eden, the Golden Age and Arcadia, as we will discover, are all related to a time before the Earth fell . . . Zep-Tepi, the first time of Osiris.
For now, we can safely establish that Osiris was the "Shepherd god" that Plato was referring to, and who reigned on Earth during the Golden Age when "the seasons blended evenly".
Its also possible that Osiris was the 'god shepherd' of Arcadia, whose skull and tomb feature in the Arcadian Shepherds paintings by Nicolas Poussin (1594 - 1665).
Figure 3: Depictions of St. George spearing the Dragon at the Earth's axis angle of 23.5 degrees.
Left: A Byzantine plague, on which is represented St.George rescuing the emperor's daughter. 15th century.
Third image (large): St George Slays the Dragon by Fortunino Matania. (1962).
Top Right: Detail from a painting by Giorgio de Chirico. (1940). Rome, Italy. Others Uknown.
“It is now all but certain that the Egypian triad, Osiris, Isis and Horus, were three philosophical aspects of Jehovah, representing 'consciousness of existence,' 'abstract intelligence' and 'wisdom,' personified in a variety of ways, both spiritual and material; they also personified sun, earth and animate nature and the Nile, Egypt and her harvest.
A mystic drama enacted by the priests at certain epochs exhibited the slaying of Osiris by his vengeful brother Typhon, the Polestar, the search for the mutilated body by his widow, Isis, and its final reserrection as the glorified young god of fertility, Horus, who becomes Osiris at maturity, the husband of his own mother, and enacts the same cycle of events over again”.
The serpent depicted is often the evil god Apep or Apothis - the deification of darkness and chaos and an opponent of light and Ma'at (order/balance/truth).
Set, who murdered Horus' father and former incarnation, Osiris, eventually became thought of as the "god of evil". Set gradually took on all the characteristics of Apep. Consequently, Apep's identity was eventually entirely subsumed by that of Set.
Figure 1: Horus and Pharaohs spearing the head or eye of the hippo or serpent or Set
The first syllable of the word Arcadia, ‘arc’, is from the French and means ‘curvature’ as in an 'arch' or dome and the ‘bow’ of archery.
In geometry, an ‘arc’ is again, a curved line, and in particular it is a portion of the circumference of a circle or sphere.
We are reminded here of certain locations on the Earth – i.e., certain habitable ‘portions’ of the Earth where people would enjoy the continual springtime climate as a result of the Earth’s upright axis.
The Earth’s surface is measured in ‘arc’ hours, minutes and seconds. ‘Arc’ is also used to describe movement on or along a curved path.
As we know the word ‘Arctic’ and Antarctic are associated with the North and South poles – being the names given to the icy regions that surround it. The word ‘arctic’ derives from the Greek Arctos meaning ‘bear’ – possibly because the celestial polar axis once pointed to the area between the “Great and Little Bears” – known as Ursa Major and Ursa Minor respectively. Between the “Great and Little Bears” is the “Dragon” or “Serpent” – the constellation of Draco.
If the Earth’s axis were once upright then again it would have been aligned with the Pole of the Ecliptic and the Ecliptic Centre, so it would indeed have been in-between the two “Bears” and within the coils of the “Dragon” or “Serpent”.
It has been said that Draco is also the serpent Ladon, who, with the sisters known as the Hesperides, held guard over the three golden apples of the tree – the tree being the ‘world tree’ – the Earth’s axis.
‘Ladon’ is also the name of the tributary river associated with the river Alpheios or Alpheus that ran through Arcadia – Arcadia also being a name for the ‘Ecliptic Centre’ to which the Earth’s upright axis had once pointed.
The name of the river God associated with the ‘Underground Stream’ of esoteric knowledge is also Alpheus, and this god is featured in many of Poussin’s paintings - especially in the Arcadian Shepherds painting we have been examining above, in which he is shown reclining in the foreground, pouring the water of the River Alpheus, its source being in Arcadia.
In their book, Hamlet’s Mill authors, Santillana and Dechend tell us that when the constellation of Draconis was wound around the top of the ‘world tree’, the plane of the ecliptic lay in the same plane as that of the equator. Again, this meant that days and nights were of equal length all year round and that there was an “eternal spring”.
The authors add that due to some great misfortune, the plane of the equator had become separated from the plane of the ecliptic and the axis of the Earth became tilted. The serpent was therefore “cast down” and so the constellations of Orion and Virgo – which represent Adam and Eve, as well as the ancient Egyptian deities Osiris and Isis, were also “cast down” from their place on the equator and the plane of the ecliptic. In effect, both had become evicted from the original “Garden of Eden” – ending up at a location far below the equator . . . the “Underworld”.
The constellation of Draco is shaped like a large ‘S’ in the sky – and so it can also be viewed as a winding river – which again also brings to mind the central river Alpheus or Ladon whose source was Arcadia and which would have represented the sushumna channel in the body, as did the River Nile, as we will see. Furthermore, it’s possible that the constellation of Draco – being a backward facing ‘S’ – was the original inspiration for the Chinese Tai Chi or yin-yang symbol, as theorised by some researchers. The two dots in the symbol which illustrate how each opposite contains the other within it, was possibly represented by the Great and Little Bears – Ursa Major and Ursa Minor.
Looking up the etymology of the word ‘arc’ or ‘ark’ brings some interesting results:
Ark in Old English is arc, or earc – meaning box or coffin’ from the Latin arca meaning, ‘chest’ and arcus meaning, ‘bow’.
In Old High German it is arahha or arka. In Middle High German it is arche). In Old Slavic it is raka or rakev, meaning, ‘burial cave’ or ‘coffin’. Then we have the term arcane or arcãnum, as in ‘arcane knowledge’ associated with the esoteric and the occult.
The Latin arcānum means, ‘secret’ or ‘mystery’ – i.e., that which has been originally ‘enclosed in a chest’ – again from arca, meaning ‘chest’, and ‘coffin’ also associated with the word arcēre meaning ‘to enclose’ or ‘keep away’.
Joscelyn Godwin tells us that ‘the pole is the supreme Arcanum or “secret”, for Arx is the celestial pole’ – meaning the polar axis of the Earth. This would go along with my theory that the name 'Arcadia' is a code name associated with the ecliptic centre – the abode of the gods and the abode of Atum-Ra in particular – the point in space to which the celestial pole was once aligned or should be.
Godwin adds that according to 19th century writer John O’Neill, the word Arx is derived from the Latin word for ‘summit’, ‘high hill’, ‘fortress’, ‘stronghold’ and ‘citadel’.
‘All arks, sacred chests, and boxes then become repositories of the secret of the polar sanctum of Arcadia’.
So what we can gather from this is that the Arx is a man-made structure – a ‘sacred mountain’ perhaps – which contains secret information or knowledge about the celestial axis. The symbol for arc is Λ which of course reminds us of a pyramid.
One imagines that the Arx could only be the Great Pyramid og Giza, located as it is at the centre of the world like the original Omphalos – a pyramid or dome-shaped (arched) stone said to be placed at the navel of the world. In certain apocryphal accounts we find the word Arka – the name of the region to which Cain and his descendants were banished by God and not surprisingly, Arka too is said to be at the centre of the Earth.
We also have the ‘Ark’ that carried the survivors of the ‘Great Flood’, and the ‘Ark of the Covenant’ which some claim to have been an ancient power or energy source – a device associated with the "Shining Ones", the survivors of an advanced civilisation that was destroyed during a global cataclysm so it is said. The word Ark, also seems to bear some relation to the Egyptian word Akh – the name for the Creative Source – the ‘Shining One’. We should not forget the word Archon – meaning ‘ruler’, and Archives – meaning ‘records’.
What can we make of all this?
A logical way of “stringing all this together” is to say that our arcane knowledge contains information in regard to a worldwide catastrophe which caused the arx – the celestial axis of the Earth, to arc or arch – i.e., move or tilt from its upright position and alignment with the Ecliptic Centre - Arcadia . . . Akh. And so man ‘fell’ into repeating cycles – being the cycles of the seasons.
The “Great God Pan had died” . . . man fell into “sleep” as personified in the pagan god who represents the Earth and everything on it as well as the centre of the world and therefore the Earth’s axis, his spine.
The long periods of sunlight and wintry darkness as well as the alternation between hot and cold temperatures, represent the struggle between opposites to find balance and equilibrium and which goes on at every level of existence – i.e., light and darkness, “good” and “evil”.
The survivors of this catastrophe – i.e., those who built Arks (boats) and those already at sea – were the Arcadians (possibly Atlanteans as is believed)– and possibly those ‘Shining Ones’ of Sumeria, the Akkadians – the people of the former “Golden Age”.
It’s also possible that much of our ‘arcane knowledge’ – the “secrets” (archives) enclosed in an arca’(chest) – could have been preserved and passed on by those Arcadians who survived and who then found a centre at Giza – the centre of the Earth’s landmasses, which became the location for the world's first zero or Prime Meridian.
A residual memory of these secrets of wisdom comes through when we discover that one of the items kept in the famous ‘Ark of the Covenant’ was Aaron’s rod. This distinctive item is said to be a Tau Cross or ‘axis mundi’ symbol with serpentine shafts – a symbol utilised again and again in arcane folklore from Gnostic sects to Templars – as this rod is also the Caduceus – otherwise known as the Staff of Hermes, and also the Arcadian Rod – which wouldn’t surprise us.
Its possible that the Great Pyramid is also the Ark – the ‘chest’ that contains this Arcadian, Arcanum of knowledge which survived the catastrophe.
The original Ark is claimed to still be held by the descendants of “serpents” in Axum, Abyssinia (Ethiopia.)
Is this Ark, and all the symbolism, which surrounds it, a statement from the Golden Age and therefore those ‘Arcadians’ or Akkadians?
Is the Ark of the Covenant a contraption of some kind associated with tapping the terrestrial energies of the Earth?
And if so, did it once belong inside the Great Pyramid, kept inside the sarcophagus in the King’s Chamber?
I would emphasise that the term ‘Arcadians’ is not to be used literally in terms of a race or civilisation who named themselves “Arcadians”, but in terms of Time – being a term we would use for those who perhaps lived during the “Golden Age” and those Akkadians who perhaps walked with the ‘Shining Ones’. But all in all, perhaps the reader can glimpse the hidden clues in all this – etymological connections that are also pointing us to the location of the body of Osiris (the Archon or ‘god archetype’) – a theme we will keep returning to. With these clues in mind perhaps we can now decipher the Latin phrase associated with the Arcadian Shepherds paintings.
Figure 23: The Caduceus, also known as the Staff of Hermes and the Arcadian Rod, from a drawing by Hans Holbein the Younger.
Many have tried to interpret the meaning behind this enigmatic inscription. The most direct translation is, “And in Arcadia I . . .” but this incomplete sentence just adds to the mystery. Poussin’s first biographer, Giovanni Pietro Bellori, interpreted “Et In Arcadia Ego” as quoted: “ . . . the grave is to be found even in Arcady and that death occurs in the very midst of delight” .
Another interpretation is “And I Am In Arcadia”. A popular interpretation is that it is an anagram of TEGO ARCANA DEI (“Begone! I conceal the secrets of God”).
Furthermore, author Tracey R. Twyman writes that the first four letters in the phrase – ET IN – was once an alternate spelling of EDEN – “the Judeo-Christian notion of Paradise and the Golden Age”.
This too is interesting as Arcadia to the Greeks meant ‘Paradise’ and the ‘Golden Age’.
Quoting statements made by microbiologist Michio Kushi in his book based on his own research into ancient Japanese documents, Barabara Hand Clow writes that,
If all the above has some truth to it – and I would emphasise that this was the time of the ‘Shining Ones’; what I would propose to be a scientifically-advanced, shamanic-experience-based culture – then Poussin’s painting is showing us that the ‘spectre of death’ had once visited Arcadia.
The theme of ‘death’ as symbolised by the tomb and the eulogy in the inscription, goes far beyond the natural death of the individual – which would have been commonplace, even in paradise – but to the sudden death of many . . . as in a worldwide catastrophe bordering on ‘Biblical’ proportions. One cannot help but consider the notion that this was also the time of the sinking of Atlantis.
So, Arcadia was/is obviously a place. But again, does Arcadia mean a place in time, or perhaps ‘out of time’? . . A period before the tilt of the earth’s axis? . . A period before the symbolic death of Osiris, and a time “before time” associated with God’s paradise – the Garden of Eden?
Much has been said in regard to the real meaning behind the name of ‘Arcadia’, which appears to have been used as a code device between members of some kind of secret fraternity of artists, writers and poets; but we find that most of the more recent interpretations given to it, and mostly stimulated by the references to Arcadia in the book The Holy Blood and the Holy Grail, are often wide of the mark.
It appears that Peter Dawkins is closer to the truth when he writes:
The significance of this quote is even more intriguing when we discover that the source from which this quote was taken is entitled: Arcadia: The Ancient Egyptian Mysteries. Nowhere do we find in these recent discussions on the name ‘Arcadia’, a link with ancient Egypt. But as I will reveal, Poussin’s Self Portrait paintings contain encoded references to the Great Pyramid of Giza, and his second Shepherds painting, Les Bergers d'Acardie version II, has clear references to Orion as a marker for the Cycle of Precession. I would stress that it was through Poussin’s paintings – especially his self-portraits – that I was led to make the discovery that the Great Pyramid contains information about the tilted Earth’s axis in its geometry.
These paintings and others I have examined appear to be telling us that Giza contains information regarding advanced geophysical knowledge of the Earth, and reference the Earth as it is now and as it was during the former Golden Age now referred to as ‘Arcadia’.
On the subject of Poussin’s first Arcadian Shepherds painting, Professor of French and Classics, Marc Wiesmann, has this to say:
As everything happens in cycles, it’s possible that whatever ended the “Golden Age” is something that could happen again, and if true, then why would important information about it be encoded? – Especially if our own survival depended on it.
The answer to this is complex – especially when we find that there are people who believe that the next event could possibly even right the Earth and bring it back to its vertical position, creating a new Golden Age.
The simple explanation is that this catastrophe was encoded in mythical stories by those who survived the catastrophe and that this information has been preserved by certain mystery schools to be divulged in full when the time is right. However, many of these are idealistic ideas often reiterated by many of today’s ‘new-age’ writers, and its possible that only fragments of this information is known; that the mystery schools each possess a piece of the “jig-saw puzzle” and that only a handful of people know the whole story – if true.
This first version of the Arcadian Shepherds was completed some years after Poussin settled in Rome, and there is now reason to believe that Poussin was a member of the ‘Underground Stream’ that had both preserved and encoded esoteric knowledge in many different sources throughout history. That this knowledge has been passed down through this ‘Underground Stream’ is again indicated by the god Alpheus, the ‘River god’, reclining in the foreground in this painting by Poussin.
As mentioned, Alpheus is also the name of a mythical river that flowed through the Peloponnesus in Greece and through subterranean channels from its source in Arcadia. In Renaissance symbology this river indicates an underground stream of esoteric traditions or secret knowledge.
It’s also obvious to me that the tombs depicted in Poussin’s two versions of the Arcadian Shepherds are symbolic of a tomb or bloodline that belongs to someone who once lived in Arcadia, and more importantly someone who personifies Arcadia, as well as the Earth’s axis - the Arx.
As we have seen, Osiris was indeed associated with the Djed Pillar – which was symbolic not only of his backbone, which represented strength and stability, but also represented the axis mundi – the “axis of the world”.
Finally . . .
Writer and Rosicrucian, Anneke Korremans told me that the term ‘Ego’ (also meaning ‘I’ or ‘the One’) was used by mystics during the Renaissance to address the ‘Divine Self’, and so the phrase Et in Arcadia Ego should be read as: Et-in-Arc-a-Dia-Ego:
“And in the Ark is the Divine Self” – the divine soul in each of us.
Dia is derived from Deus – meaning ‘God’.
Looking back at the hidden references made to the ancient Egyptian god Osiris in the Arcadian Shepherds painting by Poussin, it is possible that Poussin is telling us that the sarcophagus in both paintings, as well as the skull in the first version, belong to Osiris.
Again, Arca means 'chest' or 'box' which could also be a coffin or tomb, and applies to the word 'Ark' as in protection and preservation.
Dia means 'God'.
Possible correct translation:
ET IN ARCA DIA EGO
"And in the Ark of God am I".
The results, if correct, are interesting, as again, it has been said that the real 'Ark' is the Great Pyramid of Giza, which not only preserved the Kingdom of Egypt - functioning as a "recovery vault" in the event of predicted local and global disasters, as Scott Creighton and I have suggested in our book The Giza Prophecy - but possibly also preserved the artifacts and knowledge of a lost, advanced culture. It has also been suggested that the Great Pyramid may have housed the Ark of the Covenant and that it was placed within the sarcophagus inside the King's Chamber.
The tomb in the paintings may indeed belong to a shaman-priest-king such as Osiris – a "Shining One" who was initiated by having reached enlightenment (ascension), and who in later years was portrayed as a “god”. This individual – a Shining One – now personifies the 'Golden Age' – his death symbolising the death of many which ended the Golden Age and so it is he who also personifies the Divine Self of the collective.
Its also possible that his body, or his remains, still exist, and if so, then the remains of Osiris may have been stored within an as yet undiscovered or unkown chamber within the Great Pyramid, along with artifacts belonging to the shining culture he was associated with.
This appears to be the premise that everything is leading to . . .
If the existing location of the tomb of Osiris and the so-called "Hall of Records" is indeed part of the codes in these paintings and other sources, then its only logical to assume that the location of this chamber was known because it had already been discovered at some point in history. If so, then its also possible that the tomb was sealed again and kept secret by a group inititated into these mysteries.
We could perhaps speculate that this group were the same people who led the Rosicrucian (Order of the Rose Cross or Rose Croix) movement - the leading members of the group having anonymously created the three Rosicrucian Manifestos which first appeared in Europe in 1614, 1615 and 1616. The paragraph below taken from a paper on Poussin and the cryptic, Arcadian Latin phrase, appears to support this theory.
No one really knows why the crook and flail are crossed over the chest, although the crossing of these staffs has been interpreted as having something to do with rebirth and resurrection.
There appears to be some truth to this and this becomes more evident when we examine other symbolism which is very similar and cross reference the meanings they contain. What has not yet been acknowledged, is that again, the crook and the flail are 'Duality' symbols, symbolising the opposite, positive and negative, male and female, yang and yin energies and forces.
The flail is held by the right hand connected to the male-related left brain, and the crook is held by the left hand connected to the female-related right brain.
Now the reason why they were seen as symbols of power and kingship was because being held in this way, the point where the crook and flail were brought together, and the point where the crook and flail crossed over each other at the heart or centre of the body, symbolised the 'neutral point' of balance, a condition that can lead to the rebirth associated with enlightenment and resurrection, and one's vertical alignment with the 'heavenly kingdom' . . . the Godhead . . . the source-centre of creation.
We see the same symbolism in depictions of Heka, the god of magic who is depicted holding the dual serpents, (as also depicted in Hindu serpent symbolism relating to the pingala and ida nerve channels of the physio-kundalini-chakra system), which are crossed diagonally over the centre of his body and at the location of the neutral and central sushumna channel, aligned with the spinal axis.
In esoteric thought, the crook and flail would also represent the opposites of Summer and Winter in the yearly cycle, and this is one of the messages in Poussin's painting.
The flail, a kind of whip, or ‘fly whip,’ is associated with Summer. The flail is also used to reap the corn.
The crook is associated with the shepherding of the flock during Winter, and of course images of shepherds holding crooks are often displayed on Christmas greeting cards.
Summer is related to the Sun and the colour Red, and therefore the male principle, and Winter is related to the Moon and the colour White, and therefore the feminine principle.
So symbolically, these two items represent the opposites of Summer and Winter and this is why they are placed in front of and on either side of the tree leaning at 23.5 degrees in Poussin's painting, which represents not only the Earth's axis, but also the spinal axis or backbone of the god Osiris, as symbolised by the Djed pillar - the shamanic axis mundi.
“The Djed also symbolised the Nile – the “natural meridian” of Gizeh, also seen as Osiris’ spine” – according to friend and author Philip Coppens.
We find that the Djed column was raised up during the Equinox - the only days in the year when the Earth returns to the same conditions of the 'Golden Age' of the upright axis as appears to have been believed. And if the spinal column of Osiris signifies the Earth’s axis and vice-versa, then we can see why Orion in his image was also used as a "gauge marker" for the Cycle of Precession, as presented in the book I co-authored with Scott Creighton, The Giza Prophecy. See here:
This 'Orion-as-Precession/gauge marker' theory is also supported by the information Poussin encoded in his second painting on the Arcadian Shepherds. See here:
Being associated with the spine, the crook and flail also symbolise the male and female opposites associated with consciousness and the two sides of the brain.
The flail was used to whip and beat animals (and indeed people) forward or into submission, and like the rod or scepter, shows authority.
The shepherd’s crook was used to pull stray animals by the neck without hurting them. Here we have an image of ‘push and pull’, so we see in these two symbols the opposites again – as in the flail which would relate to the hard, strong, domineering, masculine principle associated with the left-brain, and the crook which would relate to the softer, passive, nurturing, guiding, and more receptive, feminine principle associated with the right brain.
Being crossed over the chest, the X formed by the crook and flail is the same X resulting from the rising and setting points of the Sun either side of the equinoctial line during the Summer and Winter solstices. However, the point where they intersect at the centre, represents the mid-point of the Equinox, again relating to the 'neutral point' of 'balance' and the principle of the "Third Force" in consciousness also reflected in the observed, temporal world of phenomena - especially cyclic processes.
Having looked at how the theme of Duality and the Triad of 'three forces' in human consciousness also ties in with these themes concerning the tilt of the Earth's axis as presented in Poussin's painting, the following scenario as regards ancient spiritual concepts and the cosmological beliefs behind the symbolism, begins to make more sense.
Man's fall from the Garden of Eden and the springtime paradise of the Golden Age of the vertical axis, as told through symbolic myth - (for example, the myth which describes the death of Osiris) - means that man's connection with the heavenly kingdom had been severed with the tilt of the axis, and so man is now trapped within the cycles of Time; as in moving from Summer to Winter and back again - a continuous cycle . . .
However, the ‘X’ formed from the crossed crook and flail marks the spot where man can escape these cycles - not only in terms of consciousness, but also in terms of the cycles of celestial phenomena as a condition of the tilted Earth; marking the only moments in the year when it was believed that the Earth makes a return to the 'Golden Age' – the ancient Egyptian Zep Tepi, the ‘First Time’ - also known as the ‘Time of Osiris.’
Like Osiris, it’s possible that the dead Pharaohs were placed in this position and depicted that way on their coffins so that they could enter through that ‘X’ “gateway” - associated with Truth and Balance - to be resurrected again as Osiris, or be with Osiris – their god in paradise.
If true, then this would mean that the Equinoxes were seen as “windows” or “gateways in time” – “portals” to heaven, and the Golden Age of the upright axis, and therefore the portal to the gods who still live in paradise, and there is much to support this conclusion.
Incidentally, in ancient Egyptian art, we sometimes find the Djed column placed upright between the opposites as symbolised by the diagonally-placed crook and flail. Combined with the Djed in this neutral, balanced, position is the Was Scepter – a symbol of power, and more specifically, one's ‘power over death’.
In relation to the crook staff, the staff at 30 degrees is possibly meant to represent a ‘flail’, and if correct then Poussin was careful not to make this obvious.
For some reason Poussin found it necessary to use the esoteric method of conveying important information while at the same time ‘veiling’ it – in the belief that those who overlook this information actually prove themselves “unworthy” in not noticing it.
Now what is interesting, is that in ancient Egypt, the Crook (heka) and the Flail (nekhakha), were symbols of power and rulership. They became the insignia of the god Osiris who was always depicted holding them. They were often held by Pharaohs and high officials as symbols of authority, much like the ceremonial scepter and orb held by royalty today. Like the god Osiris the Pharaoh was considered the “shepherd of his own people” and it’s a fact that many ancient peoples (especially in Mesopotamia) referred to their kings as ‘Shepherd Kings’ – as if in respect of those divine teachers of wisdom and ‘Shepherds of men’ – the "Shining Ones".
The Sumerians named the constellation of Orion ‘the Shepherd’, and as we know Orion was seen to contain the soul (sah) of the ‘resurrection god’ Osiris and represented both Osiris and Horus in its image.
Osiris is usually depicted holding the crook and flail (his emblems) in each hand and also with his arms folded across his chest – the same regal position that Tutankhamun and other Pharaohs were depicted; and these two power symbols were held in such a way that they either made a 'V' shape (as held by Osiris shown below), or a diagonal cross, intersecting at a point over the heart like an 'X'.
Another amazing thing about this painting by Poussin, is that the crook is in the correct position in this tilted, diagonal cross to create the Chi-rho (also spelt Chi-ro) monogram or symbol . . . XP.
The name 'Chi-Rho' is composed from the Greek letters X (chi) and P (rho).
Remember that we are compelled to create this cross in the painting by drawing lines based on the obvious perpendicular angle of the staff and the edge of the tomb. The crook then falls into place as the ‘P’-like head of the Chi-Rho symbol.
Furthermore, its interesting that there are only three references in the painting - sarcophagus and the two staffs - for the same number of lines - two diagonal and one vertical - to create the monogram.
Of course, many would be asking: What does this Christian monogram symbol have to do with Osiris?
Its a fact that this symbol is recognised as a Christian symbol associated with Jesus Christ, and although most mainstream historians will reject any notion that Jesus was based on earlier, pagan ‘resurrection gods’ like Osiris and also his son and reincarnated self Horus, 32nd Degree Mason, Frank C. Higgins tells us different:
Sir Flinders Petrie, the Egyptologist who measured the Great Pyramid of Giza, and whose measurements have been officially accepted as standard, also believed that the Chi-Rho monogram was the emblem of the Egyptian god Horus, thousands of years before Christ.
For example, an identical symbol to the Chi-Rho has been found inscribed on rocks dating from 2500 BCE in Sumeria, and was interpreted as 'a combination of the two Sun-symbols' - symbols of the ancient "Shining Ones". It was also used on the coins of Ptolemeus III from 247-222 BC, as well as being an emblem of the Chaldean Sky/Sun god, and has the definition 'Everlasting Father Sun'.
It would perhaps serve us well to look into the history of the Chi-Rho and see how strong and credible these links are to the pagan gods Osiris/Horus, and perhaps we will learn a few more things along the way.
It is said that the Greek Ptolemys who ruled Egypt after their conquerer king Alexander the Great had died, acquired the Chi-Rho monogram from the ancient Egyptians during the second century BCE. The Greeks called their version of Horus (Heru), Heracles or Hercules and applied the Greek Xpnc (Chres) to him.
This led to the ancient Horus being given the title of Lord, Chrestos, and inevitably 'Christ.'
This, if true, shows again the direct link between Horus, the Chi-Rho monogram and Christ.
Indeed many European scholars have actually identified Heracles or Hercules as none other than an emblem of Jesus Christ, and of course the name Heracles, is related to the words and names Hero, Heru and Hu, which mean, “shining”, and can be found the world over as a word for the Sun, but again etymologically, these names lead back to Horus.
Furthermore, and this is interesting in terms of its connection with the enlightenment experience known as Kundalini by the Hindus,; the Greek title 'Christ', like Heru, was also derived from the Egypto-African word Karast, and Kristos or Christos is the KRST (Karast).
The “Karast” is a person who is anointed (an 'enlightened' or “shining” individual) also known as a Heru (Hero) during his or her own lifetime. It is only when deceased that one receives the epithet 'KRST' or Ausur. Again, Ausur is none other than Osiris.
Foremost this 'anointing', applies in the spiritual sense, but in the physical sense it is derived from the body or cadaver being anointed with spices, oils, and resins to preserve it. The body is then wrapped in bandages, placed in a coffer, which is then placed upright to symbolise resurrection. It was believed that the Heru (Heroe) or KRST (Christ) - (enlightened one) - would rise again to save the world as a fully divine being and thus become the 'once and future king.' It seems then that this tradition emerged out of Egypt and then into Greek and Christian legend, bringing with it the original symbols of Osiris.
Most people - especially Christians - believe that the Chi-Rho monogram goes back to the Roman Emperor Constantine.
The story goes that Constantine had a vision before a great battle and was told that with the symbol of the Chi-Rho, which was also called the Labarum, he would gain victory . . . “By this sign, you will conquer”.
Using the new Labarum as his battle standard, Constantine took the field and the Empire was “born again”.
In fact, the Christians had been using this symbol secretly as a sign of their faith and Constantine (or somebody who advised him) simply picked up on the fact that this symbol and the whole saviour process was ancient and widespread - and according to some - it was used to plunder the treasuries of the pagan temples. Amazingly, on the coinage during and after Constantine's death, we see the Laburnum or Chi-Rho, underlined with the serpent - a symbol used throughout time and especially by the Gnostics for wisdom associated as it is with Kundalini-related enlightenment.
Chi also has another meaning - 'Great Fire' or 'Light' and again 'Shining.'
The 'P' (Rho) is etymologically related to the word 'Pen', and 'pen' in some languages means, 'head', thus implying that the loop on the top of the 'P' is a head, and in the very place that a skull would be in the Skull and Crossbones symbol, which relates back to Osiris.
This revelation that the Chi-Rho monogram has original links to Osiris/Horus, is supported by other similar elements – the Skull and Crossbones, "Deaths Head" symbolism being just one of them. The skull in this symbol, like the 'P' in the Chi-Rho monogram, represents the head of Osiris (again, a skull rests on top of the ornate sarcophagus in Poussin's painting) and it is his thighbones which are arranged in an X, like the crook and flail, and like the diagonal cross of the Chi-Rho monogram.
We also find that the thigh bones in the earliest and official depictions of this symbol are at the Earth's obliquity angle of 23.5 degrees, and by now this shouldn't surprise us.
Not many people are aware that the Skull and Crossbones symbol - familiarly associated with pirates and piracy (the so-called "Jolly Roger"), as well as being a warning emblem for poison - was used by the Templars.
The Jesuits are said to swear an oath upon the symbol of the skull and crossbones, and the Freemasons also use this symbol in reference to Osiris. For example, in the Tracing Board symbolism, Osiris is occulted or hidden in the "skull and crossbones" marked crypt seen under the floor of the Freemason's Temple floor.
In the George Washington Masonic Memorial in Virginia, USA, there is an anteroom with a large portrait of the Colonial period, Grand Master Lafayette, wearing the Templar Apron bearing the 'skull and crossbones.' The same apron images have also been found elsewhere, such as Michigan, Detroit and Jackson.
As I alone discovered, and based on the words of Frank C. Higgins, the Masonic Apron encodes an ancient Geometric Formula; the same formula from which the proportions of the Great Pyramid of Giza, along with the geophysical/geodetic angles that were also encoded within it, was constructed. See here:
Today the ‘skull and crossbones’ is a universal symbol used to represent danger and death – and although it is a six-sided emblem hiding the fact that it is really eight-sided as referenced by the A (Alpha) and Ω (Omega) letters arranged on a hidden horizontal line – the diagonal cross, which represents the tilted axis and equatorial plane, as well as the four colures or fixed signs of the Zodiac relating to the precessional cycle, is clearly featured in the symbol – as if symbolising the catastrophe that caused the axis to tilt; uppending the Earth, an event which nearly wiped out the human race, so we are being told.
It is apparent that Osiris as "god of the dead", personifies this catastophic event, and in the myth of his own death at the hands of his brother Set (also Satan, known as Tython by the Greeks. Tython is also the name given to a comet), and it is Osiris who holds the symbols of the diagonal cross - the sections of the inclined Earth - in the crook and flail, which symbolise each of the opposites evident in all cycles.
Furthermore, the star constellation of Orion, considered to be the sky image of Osiris - representing his soul (sah) - only shows his arms and torso. The head and femurs (thighs) of Osiris are missing. However, the missing head and thighs are present in the Skull and Crossbones symbol, revealing that this symbol is indeed related to Osiris.
Next, the male shepherd in Red is holding a shepherd’s crook which is bent slightly; and as we can see, the top of both staffs are equally aligned to the horizontal. If we now measure a line from the point where the two 30-degree angles intersect and extend it to the end of the crook/staff held by the bearded shepherd in red, we find that the angle of this line is exactly 72 degrees - a noted Precession-related number.
‘According to the American Seer, Edgar Cayce, man who has lost his spiritual self is like a ship without a rudder.
This is a clue for understanding the story of Hamlet. Hamlet is curiously unable to direct himself on any course of action'.
On the surface Hamlet is an entertaining story. Underneath Bacon has fashioned two faces. One looks to the past to the origin of the story of Hamlet which had its basis in the astronomical symbolism of the pole, on which the earth turns, breaking loose from its peg, and the tilting of the earth’s axis which resulted.
As Hamlet said: “the time is out of joint, O’ cursed spite, that ever I was born to set it right”.
The face which looks to the past finds a mirror for everyman in antiquity. That mirror is the ancient doctrine that events which take place in the great world of the macrocosm (the earth,) are reflected in the little world of the microcosm (man).
When the axis of the earth became tilted. When the earth lost it’s alignment with the sun, the macrocosmic event was reflected on a microcosmic level by man losing his alignment with his spiritual source (symbolically causing the death of his spiritual self)’.
In doing this, the angle of the downward-pointing finger moves from 6.5º to 23.5º, and the Thyrsus staff from 13º to 47º.
Of course 13º + 30º = 43º. But measuring the angle from the horizontal gives us the inverse angle of 47º - i.e., 90º - 43º = 47º. And as we now know, 47º - (2 x 23.5º) - is the angle of the 'Cosmic Cone' relating to Precession.
What we appear to have here are TWO obliquity angles, as well as their related, precessional, diameter values.
We recognise the obliquity angle of 23.5º and its related precessional diameter of 47º, which is the present condition of the Earth today.
So what do the other two values relate to?
Is the painter who encoded this trying to tell us that the axis was once almost upright at 6.5 degrees?
If so then he has also given us the related precessional diameter of 13º . . . 2 x 6.5º = 13º.
Looking at the logic of this, and if I'm correct in my conclusions that the artist encoded this, its possible that he is telling us that the Earth's axis tilted from an almost upright obliquity of 6.5º to the 23.5º angle the Earth is at today. It may not have shifted to this angle in one fell swoop, but what this is indicating, is that the Earth was originally at the obliquity angle of 6.5º - almost upright, and if so, then the continual Springtime conditions would still have applied.
Returning to Poussin's Shepherds painting, it would appear that he was communicating the same thing, but in reverse; in that by rotating his painting backwards, we are moving from the 23.5-degree obliquity the axis is at today, back to the former 6.5-degree obliquity, as if expressing the theme of resurrection - i.e., resurrecting Osiris and the Earth's axis back to the former 'Golden Age'.
As the angle of 6.5 degrees is also a recurring feature in paintings and other sources, we will discover more evidence for this theory of a former 6.5 obliquity, the further we go on.
Although the name or term, ‘Arcadia’ is quite popularly used today, its origin remains confusing and indecisive.
The word ‘Arcadia’ is often used to encapsulate our quixotic vision of a pastoral earthly paradise; a utopian Eden, which exists partly in the collective imagination.
Arcadia has been described as a place of ‘perfection’ and a place where happiness reigns – a stark contrast to the complicated life in today’s urban societies. This idealised version of Arcadia is based mostly on the writings of the Roman poet Virgil.
It is said that the physical and historical Arcadia was once a district of the Greek Peloponnesus – a land of numerous valleys surrounded by high impassable mountains. Renowned for its high fertility and peaceful way of life, it is said that the people of Arcadia were pagans – simple rustic-folk consisting of shepherds and herdsmen.
Here we have our first connection, as again, the ancient Egyptian gods like Osiris for instance, were seen as “shepherds of men”.
However, like the city of Troy, the literal existence of a Greek ‘Arcadia’ – especially during recorded history – remains unconfirmed and really makes no sense. This leaves us to consider that the reference to Arcadia in the inscription included in two of Poussin’s paintings, is ‘allegorical’ – in that the name given to this rural ‘shepherd’s delight’ believed to have once been a peaceful land amidst the evils associated with the Greek City States – is being used as an analogy to bring to mind the paradise once enjoyed during the “Golden Age”.
This would mean that this simplistic Arcadian, Eden utopia was universal – in that the term applies to other places around the globe – possibly the belt areas which begin 30 degrees north and south of the equator and at a certain time in man’s history.
I would personally interpret Arcadia to be the Zep Tepi of the ancient Egyptians – the ‘First Time’ or the ‘time before time’.
After all, we are told that after the tilt of the axis, time was measured by the seasons as agriculture became a necessity.
It’s interesting to note that Osiris, the "Green Man", is a god associated with the harvest; that like Jesus Christ, his rebirth from the Underworld coincided with the Spring Equinox when Day and night are equal and balanced; a day from which begins the positive half of the annual cycle and when the crops begin to sprout and life begins anew. Again this was the day when the Djed column was ritually raised-up (resurrected) by the Pharaoh.
We will return to the reason why the headless Orion is the source of legends and stories about severed heads - the decapitation of John the Baptist, who represents Osiris, being a case in point; suffice to say that the symbolism really relates to shamanic experience and enlightenment.
Going back to Poussin’s painting we can see the center of the Chi-rho cross falls on the spine of the bearded shepherd in Red, which again identifies him with Osiris, with the other two figures completing the Triad as Isis and Horus . . . and as we now know the spine of Osiris – symbolised by the central Djed Pillar – also represented the axis mundi.
In any case, it’s clear that Poussin is bringing attention to the archetypal ‘Shining One’ as represented by the ancient Egyptian god Osiris.
So with the additional information we are given concerning this particular Christian-related symbol - the Chi-Rho monogram - and in a painting that already gives reference to the pagan god Osiris, it’s possible we are being told that Osiris/Horus and Jesus Christ are the same in essence and carry the same message for mankind – a belief that would have been considered ‘heretical’ at the time, but one that many were aware of nethertheless - including Poussin.
Researcher Jim Fournier tells us that it was Astronomer, Sir Norman Lockyer (1836 –1920), who first pointed out that,
"The Babylonians distinguished the pole of the equator [the Earth’s axis of 23.5°] – which they called Bil, [also Bel, Baal – a god equatable with Osiris] from the ‘pole of the ecliptic’ [of 0° zero obliquity] which was called Anu" – the ‘father god’ in the heavens equatable with RA or Atum-Ra.
Again I will quote Frank C. Higgins who writes:
“ . . . Horus, the animating spirit of the Earth, “Horus of the Pole” and “Horus of the Two Horizons”, so he is called”.
It would appear then, and based on good authority, that the dead Osiris represents the tilted, celestial pole of 23.5°, while Horus or Heru represents the resurrected and re-erected pole when raised back vertically to the Pole of the Ecliptic, to be realigned again with the Ecliptic Centre as represented by the god Atum-Ra.
The epithet "Horus of the Pole", and Horus being "the god of Light who maintains the universe in equilibrium", suggests that like Atum-Ra, Horus - Osiris' son and reincarnated, resurrected self - also represents the upright and balanced 'Pole of the Ecliptic' which is aligned with Atum-Ra the "Light" and the Source-Centre of Creation.
However, because the Earth's celestial polar axis is tilted away from the vertical 'Pole of the Ecliptic', the direct connection which the Earth once had with the Source-Centre, has been severed - hence the reason why the spine of the dead god Osiris represents the Earth's axis, and why in death he holds the diagonally-crossed crook and flail associated with the Summer and Winter halves of the year - the Solstices; a diagonal cross which also marks the four colures (the four fixed signs of the Zodiac) in the Precessional Cycle - precession also being the result of the tilted axis.
Earlier we saw evidence in the paintings of the Crucifixion, which appear to express a belief amongst the people that encoded this information, that like Osiris and his resurrection through the symbolic "Raising of the Djed column", Jesus too who was raised up on the Cross, was also associated with resurrecting the Earth’s axis to its former upright position.
Again, the raising of the Djed column of Osiris is replicated in the story of Jesus, who carries the cross on his back (tilted axis) to the Hill of Golgotha (the “place of the skull”), where Jesus is raised up with the Cross to enter the heavenly kingdom.
We see this in Poussin's painting; the tilted cross at 30 degrees which is centred on the back or spine of the shepherd in red and next to a tree angled at 23.5 degrees. Before him and resting on top of the tomb is a skull – indicating the Hill of Golgotha and therefore the “place of the skull”.
In any case, it is on this hill (symbolising the ‘primordial mound’) where the cross is lifted up (upright axis) and from this position Jesus enters the heavenly kingdom (the Ecliptic Center) and at the point of enlightenment.
Here, ‘enlightenment’ really expresses the time of the 'Golden Age' and the balanced condition of the Earth and human consciousness during this time and when man was possibly more intuitive and psychic and attuned to the natural world around him. It’s likely that the prediluvial landscape (Holocene period) as described by Allan and Delair in their book Cataclysm, in which the Earth enjoyed continual springtime is this ‘Golden Age’.
So then the connections made between Osiris the ‘resurrection god’ and the Earth’s axis, is that it is the Earth’s axis that should be resurrected, according to ancient belief, and that this is the real purpose and meaning behind the conception of the universal ‘resurrection god’ and all related beliefs and traditions. In other words, the whole messianic mythos is based on the belief that this archetypal hero or god whose own spine represents the celestial pole and vice-versa, therefore has the power to bring back the ‘Golden Age’ of the upright axis which was lost in ‘the Fall’ – a more balanced world along with his own rebirth or resurrection through reaching ‘enlightenment’.
In terms of the collective human consciousness, this is the real meaning behind ‘Ascension’.
Again, these three colours relate to the Triad – being the positive and negative, male and female opposites (Red and White), and the neutral "third force" (Black), in which the positive and negative opposites become neutralised (cancelled out) and/or united and fused together as One. Some researchers like Richard Cassaro are only now writing about these esoteric principles in a way that is clear and spreading the connections they have made to a wider audience.
The Red and White, male and female opposites, as in the 'Red King' and 'White Queen' of Alchemy, are also expressed in the Solar (pingala) and Lunar (ida) nerve channels or meridians, called Nadis in the Hindu tradition associated with the physio-kundalini-chakra system. These two nerve channels are often symbolically depicted in the Caduceus - also known as the "Staff of Hermes" and the "Arcadian Rod" - as twin snakes or serpents; spiralling up the central sushumna channel aligned with the spine in a double helix pattern, crossing each other at each of the seven chakras (energy vortices). See here.
In esoteric literature, the neutral "third force" as represented by the central sushumna channel (See "Law of Three", Gurdjieff), is known as the generative, creative force. It is both the Source and 'product' of the first two forces, just as the Sun-god Horus is the child produced from the union of Osiris and Isis in the ancient Egyptian Triad.
Returning to the Arcadian Shepherds painting by Poussin, we find that on top of the tomb or sarcophagus rests a skull – likely to be the head of the one who rests inside it, or for whom the tomb was made.
Aside from the moon god Khonsu, and a few other minor gods who hold the crook and flail, Osiris is the only god who is identified with these two staffs and the Djed, and perhaps this is because he is the ‘resurrection god,’ in that he ‘died’ at the hands of his brother Set, and went to the Underworld, but is resurrected again during the Spring – and just like the ‘Golden Age’ which is temporarily resurrected again on the Spring Equinox time in the year.
First of all, the three individuals who are inspecting the tomb are wearing the familiar colours of Red, White and ‘dark blue’. Sometimes, and not often, the colour blue -especially dark blue - is substituted for the non-colour Black.
Like the Guercino painting we examined on the previous page, the painting we are going to examine in this presentation was first featured in the book, The Holy Blood and the Holy Grail, (1983), along with several others on the Arcadian theme.
Since that time the consensus opinion is that these paintings contain a cipher or code associated with the Rennes-le-Château mystery, possible treasure or artifacts relating to the Holy Grail and the secret bloodline of Christ. Many believe that this code is based on pentagonal geometry which appears to be pointing to specific locations in the South of France.
The book The Da Vinci Code by Dan Brown is a fictional work spun from the theories first presented in this book, but the bloodline of Christ or the Holy Grail is not what these paintings are about – well not directly in any case. In my view, these paintings, which indeed contain revelatory information, have never really been satisfactorily deciphered.
My own view, based on years of research, is that the symbolic information we find in these paintings are really associated with an ‘ancient code’ (if we can call it that), relating to a global catastrophe unparalleled in our officially-gathered recorded history; an event that caused the Earth’s axis to tilt from an upright or almost upright position as believed by those who have encoded this information.
There are persistent speculations that link this event to the "Fall of Man" from the Garden of Eden, the Great Flood, and the destruction of Atlantis.
The encoders also use the ancient myths to convey this theme as did the ancients themselves. One myth in paticular which is recurrent in these paintings, is the ancient Egyptian myth of Osiris, whose backbone was symbolised by the Djed Pillar which also represented the shamanic axis mundi - the "world axis". Again, and as expressed by Higgins, the Triad of Osiris, Isis and Horus was also used to convey ancient spiritual truths associated with balance, while at the same time pointing to the Duality and imbalance in human consciousness caused by the tilt of the axis, as was believed.
The encoders also appear to be telling us that factual, geophysical data regarding the orbital dynamics of our planet, as well as information pertaining to this catastrophe and more besides, was encoded in the Great Pyramid and the other monuments at Giza in Egypt.
Some modern-day researchers like authors Robert Bauval and Graham Hancock, suggest that Giza is a ‘precessional clock’.
Based on my own interpretation of these paintings and the data gleaned from other sources that support it, I am compelled to take the same view, and of course Scott Creighton and I have presented some of our own findings in the book The Giza Prophecy.
In the book, Scott and I show how the designers and architects of Giza, intentionally arranged these massive structures to create an astronomical timeline, recording catastrophic events in the past as well as warning later generations of the precise times of future catastrophes.
It appears that what has been encoded at Giza also correlates well with the information that has been encoded in these paintings, as we will discover.
I have already mentioned the significance of these three colours on the previous page in my analysis of Guercino's painting, Et in Arcadia Ego. These three colours which I first brought attention to in the book The Serpent Grail, (2005), are a familiar theme in numerous esoteric sources . . . the following being one example.
In the Timaeus by Plato, a Socratic dialogue written in about 360 BCE, Critias talks about his grandfather's meeting with one of the seven sages named Solon; an Athenian poet and famous lawgiver. Solon had been to Egypt and listened to the priests there who compared the cultures of Egypt and Athens and talked about their gods and comparable mths and legends. However, one of the stories the Egyptian prieststold Solon was the sunken land of Atlantis.
Plato goes on to describe the stone that was said to have been quarried from Atlantis and tells us that one kind of stone was white, another red and a third black, and that the hillsides displayed veins of red, white, and black marble alongside deposits of every kind of precious metal. We are also told that Atlantean architects used this red, white and black marble to design their buildings with these same three colours tastefully combined and contrasted.
The existence of Atlantis remains inconclusive. However, the fact that in the Hindu cosmology, the god Shiva is red, Vishnu-Krishna is blue-black and Brahma is white, reveals that we are again dealing with a ‘system of knowledge’ which has been spread worldwide and obviously from the same source.
Furthermore, the Hindu myth of Manidvipa is said to be an allegory pointing to the destruction of Atlantis by the Flood and of the survival of its three races – red, white and black – and in a special kind of Ark.
The Hindu trio, Shiva, Shava and Shakti, are often depicted fleeing their destroyed world the ‘Island of the Jewels’ – Manidvipa. But could this also be interpreted to mean that this knowledge was rescued, preserved and carried over.
We are told that these three aspects of the Hindu god also correspond to the three “sons” of Noah, who each symbolize the three different coloured races of mankind. Again, we can see the symbolic device of the Triad being used both on an individual level, as regards the three aspects of Self – one’s consciousness – and also on a collective level as the three aspects or ‘races’ of man.
Can we take these stories literally, loaded as they are with the same metaphorical symbolism?
One would note too, that in ancient Egypt, the land was divided between,
1,) Upper Egypt in the South, which was signified by White, and
2,) Lower Egypt in the North, which was signified by Red.
The Nile itself and the soil around the Nile, was Black – as the ancient name of Egypt, Khem, which means ‘black’, appears to confirm it. We are told that this is where the name al-Chem-y is said to have derived. The ancient art of Alchemy in which it is often claimed that base metals could be transformed into gold - one of its claimed practical uses - is ultimately about one’s own physical and mental transformation; one's spritual ascension through the union or fusion of opposites.
Below are a few examples which feature these three colours.
Is it a mere coincidence that the crook and staff held by the shepherds in Poussin’s painting are in the same slanted positions as the crook and flail held by Osiris, as depicted in ancient Egyptian art?
Below I have superimposed the ancient depiction of Osiris over Poussin's painting to show that the positions of the two staffs held by the shepherds match the same positions of the crook and flail held by Osiris. We would also note that the tree in Poussin's painting, which appears to represent the shamanic ‘world tree’ or axis mundi – a metaphor for the Earth’s celestial axis - is leaning at 23.5 degrees and is at the same position as the Atef Crown worn by Osiris and which is leaning close to the same angle.
There is no doubt in my mind that Poussin had encoded a reference to the ancient Egyptian god Osiris as the Shepherd God, and that it is his tomb and his skull that the shepherds are examining, along with the cryptic phrase ET IN ARCADIA EGO.
Furthermore, the shepherds themselves appear to be representing the Triad of Osiris (shepherd in Red), Isis (Shepherdess in White) and their offspring Horus (shepherd in Blue/Black who is in the central, 'neutral' position).
Due to the writings of the Greek author, Plutarch (1st century AD), the myth of the Egyptian deities Osiris and Isis was well known amongst the intellectuals of Europe, and from the 16th century many artifacts find their way into Europe from Egypt.
One would argue that there is no proof that Poussin had seen an ancient depiction of Osiris like the one above taken from the Papyrus of Hunefer, which was only discovered in the 19th century. However, the existence of the Book of the Dead from which this image of Osiris was taken, was known as early as the Middle Ages. There are many depictions of Osiris in Egypt, and though hundreds had visited Egypt before Poussin’s time, only the explorations of a handful of adventurers had written their own accounts or had their visits recorded and documented, so it’s possible that Poussin, may have seen, or had been passed on information regarding the detailed imagery of Osiris from others “in the know”.
It’s a fact that we are often only taught or given the official version of history, when there is always a ‘hidden version’ which is perhaps closer to the truth. In any case, there is much evidence to suggest that Poussin was a member of an ‘Underground Stream’ that had both preserved and encoded esoteric knowledge in many different sources throughout history.
This first version of the Arcadian Shepherds was completed some years after Poussin settled in Rome and after he had been initiated into the mysteries, as we will see.
It is clear that Poussin and other contemporary painters of the era, like David Teniers (the Younger) and Giovanni Francesco Barbieri (otherwise known as “Guercino”) were privy to important information associated with certain mystery schools.
It is said that investigations into the Rennes-le-Château mystery, as outlined in the book The Holy Blood and the Holy Grail, has uncovered Poussin’s links with the Prieuré de Sion – again, a self-proclaimed secret society whose ‘Grand Master’ list (according to a leaked dossier that some say is false), boasts some of the most enlightened and influential individuals to have walked the Earth: people like alchemist, Nicolas Flamel; artist and inventor, Leonardo Da Vinci; physicist, Sir Isaac Newton; poet and novelist, Victor Hugo; composer, Claude Debussy and surrealist, Jean Cocteau.
According to the author's sources, the Grand Master of the Priory is known as the Nautonnier – meaning, “navigator” or “helmsman.”
These nautical terms suggest a link with the sea and most possibly a ‘survival situation’ – i.e., one’s navigation through treacherous waters or perilous terrain towards safety, refuge or sanctuary.
Although this detail is most interesting, again we should be cautious with anything associated with the Prieuré de Sion – especially the history of this secret society, as given by the sources relied on by the authors of The Holy Blood and the Holy Grail.
However, even if the whole mystery that surrounds this so-called “secret society” turns out to be a hoax, then the ‘Nautonnier’ theme could still warrant further investigation as it could indeed belong to a valid source of information which the “hoaxers” may have tapped into and adopted without knowing the deeper meaning behind it all. And if so, then Poussin’s connection to the intriguing speculations and mysterious events that surround what might amount to a ‘fictitious’ Prieuré de Sion, may indeed only be a consequence of the information and profound knowledge these “impostors” were exploiting.
That Poussin knew something of profound importance cannot be denied, and we find justification for this in the things the authors of The Holy Blood and the Holy Grail discovered – clues that matched the criterion of esoteric knowledge I had already come to understand to some degree.
For instance, we are told that in 1656, Poussin received a visit to his studio in Rome from the Abbé Lois Fouquet, brother of Nicolas Fouquet – Superintendent of Finances to Louis XIV of France. What the two men discussed will never be known exactly, but soon after this meeting, Lois Fouquet dispatched a letter to his brother, describing what he learned from Poussin:
On the request of his king – and not long after receiving his brother’s letter, Nicolas Fouquet (King Louis’ Superintendent) was arrested and imprisoned for life. The king then seized and inspected all of Fouquet’s correspondence. We are told by the authors of The Holy Blood and the Holy Grail, that according to some accounts, Fouquet “was held strictly incommunicado – and some historians regard him as a likely candidate for the Man in the Iron Mask”.
In recent times, and since the publication in 1983 of the The Holy Blood and the Holy Grail, the theme of The Arcadian Shepherds have become Poussin’s most popular and well-known paintings.
We are told that in the years that followed, King Louis went out of his way to secure the original of Les Bergers d’Arcadie (The Shepherds of Arcadia) Version 2.
When at last he succeeded in 1685, he ordered that it be locked away in a vault in the Palace of Versailles, and so there it stayed for many years, and though it is now on display to the public, still it has remained a mystery until the day I examined it up close while visiting the Louvre. But first we will take another look at Poussin’s first version in this theme.
In terms of art, the Poussin era was the Baroque period, in-between the Rennaisance of the 16th century and the ‘Age of Enlightenment’ which had its inception in the late 17th century and came to fruition in the 18th.
The Baroque period reflects not only the religious tensions regarding Catholic vs. Protestant, but also a new and more expansive worldview - especially in terms of world exploration and the science that had developed during the Renaissance.
We will look more closely at the life of Nicolas Poussin later, and within the context of interesting associations and acquaintances he had with some of the greatest minds of his era, and having examined some of his paintings, there is no doubt that Poussin indeed encoded secret information in them for initiates like himself as the following quote shows.
Poussin was a prolific artist. His work is said to be divided between two themes: scenes from the Biblical Scriptures and those featuring the pagan gods Pan and Apollo and the beautiful, idyllic landscapes associated with pagan mythology.
Could it be that his paintings on the pagan theme depict the world before the tilt of the Earth’s axis? – being the “Golden Age” of myth and legend?
If so, then it’s possible that his Biblical paintings are associated with the world just before and after the tilt of the Earth’s axis – if it indeed happened.
Although he is not as well-known as that other great artist Leonardo Da Vinci, for some readers the name ‘Poussin’ will sound familiar while others will not have heard of him at all, but still he remains a controversial figure in the pages of cryptohistory.
The name ‘Poussin’ crops up constantly in conjunction with the mysteries surrounding a small church named Rennes-le-Château . . .
Copyright © Gary Osborn 2005. All Rights Reserved.
Figure 4: Les Bergers d’Arcadie (Version 1) by Nicolas Poussin, (1626 - 1629).
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‘He and I discussed certain things, which I shall with ease be able to explain to you in detail – things which will give you, through Monsieur Poussin, advantages which Kings would have great pains to draw from him, and which, according to him, it is possible that nobody else will ever rediscover in the centuries to come.
And what is more, these things are so difficult to discover that nothing now on this Earth can prove of better fortune nor be their equal’.
There are two versions of the Arcadian Shepherds by Poussin. Unlike his second painting on this theme, the first also entitled Les Bergers d’Arcadie, painted between 1626 and 1629 is not in the Louvre but in Chatsworth House, Derbyshire, England.
It’s interesting that the heraldic emblem of the Devonshire family, who have been at Chatsworth for over 450 years, is a snake or serpent. Depictions of the serpent is everywhere at Chatsworth. When I inquired into the origin of this emblem, a spokesman for the gentry there said they didn’t know, but assumed it had some classical leanings.
Poussin’s first version shows two male shepherds and a shepherdess examining a decoratively-designed tomb with the Latin inscription “ET IN ARCADIA EGO” on the side – again a phrase we will examine later.
Although the second version, painted c. 1640 is more popular, this first version is very interesting as it holds several significant clues that many researchers have overlooked. Scholars will tell you that Poussin made many references in his paintings to the Greek god Apollo. However, Poussin’s first painting contains unmistakeable, symbolic references to the ancient Egyptian 'resurrection god' Osiris, who is synonymous with Apollo, as is his son and reincarnation, Horus.
Figure 5: The angles of 30 and 72 degrees.
'The Law of Three is described by Gurdjieff as "the second fundamental cosmic law". This law states that every whole phenomenon is composed of three separate sources, which are Active, Passive and Reconciling or Neutral.
This law applies to everything in the universe and humanity, as well as all the structures and processes'.
Figure 7: Osiris (the Green Man) with crook and flail.
Detail from the Papyrus of the Scribe Hunefer. “The Judgement Scene” 19th Dynasty. (British Museum).
As revealed earlier, Freemasons, Manly P. Hall, and Frank C. Higgins brought attention to the fact that the “ornate headgears of certain gods and Pharaohs are inclined backwards at the same angle as the Earth’s axis”.
This is true in some of the ancient Egyptian images of Osiris - especially this image from the Papyrus of Hunefer - and we note that not only is the Atef Crown at this angle, but also the beard, the flail and the angle positioning of the arms - as if the arms are again representing the two Solstice positions of the Sun as we see in the two 'Solstitial Lions' that flank the central upright column above the Gate of Mycenae. (See here, figure 8). There is more encoded, sacred geometry in this image of Osiris according to Higgins and so we will return again to it later.
Figure 8: Left: The Earth's Obliquity angle encoded in the Atef Crown and the Solstice and central Equinox positions of the Sun in the
colours of the Triad. Image of Osiris from the Papyrus ofthe Scribe Hunefer.
Right: The Masonic Compass, its open legs at the angle of 23.5 degrees, again illustrating the Triad
of the two Solstice points of the Sun and the central position of the Sun during the Equinoxes.
Figure 9: Detail from the Papyrus of the Scribe Hunefer, superimposed over Poussin's Shepherds of Arcadia painting.
Figure 10: The Middle Coffin found in Tutankhamun’s tomb.
Different facial features suggest that this coffin was meant for his brother Smenkhkare.
(18th Dynasty.) Dead Pharaohs were depicted as Osiris.
“The ancient Persian worship was essentially “light” worship, the Persian light god, Ahura-Mazda, or Ormuzd, being the same as the Hindu Asura, the Babylonian Assur, the Egyptian As-Ar (Osiris), and the Hebrew Aur and Or, all apparently derivations from the Sanskrit Rch, the “PX” character for which was read by the Egyptians as “XP” or Chr, “Horus,” and was incorporated by the Greeks in “Chr-istos,” their translation of the Egyptian “Horus of the Pole,” the god of light who maintains the universe in equilibrium”. (My Italics).
Located in the Languedoc region in southern France, the Chateau is said to be connected with the Cathars, Gnosticism, the Knights Templar, Rosicrucianism, Freemasonry, the genealogies of the legendary Merovingian Kings of France and hidden treasure.
The stories surrounding Rennes-le-Château, which has now become a “cottage industry” in France, was first brought to the public’s attention by the best-selling book, The Holy Blood and the Holy Grail, by Michael Baigent, Richard Leigh and Henry Lincoln.
First published in 1983, this book set a precedent for other books of its genre and spawned a whole new international, media industry specializing in conspiracy theories, alternative history and the latest study known as ‘cryptohistory’.
The central theme of the book is based on what appears to be an “archaic” secret society, the Prieuré de Sion, (the ‘Order of Sion’ or ‘Priory of Sion’), which claims strong links with the Knights Templar. On the surface lay the beliefs that the Prieuré de Sion has guardianship over the Holy Grail (thought to be the sacred icon of the Merovingians) and that the Society has an agenda to restore the monarchy in France – the chosen monarch being a descendent of the Merovingian line of Frankish kings who were deposed by the Carolingians and who were themselves former court officials to the kings of the Merovingian dynasty.
It is said that the Merovingians were the descendents of the ancient Hebrews – especially the ‘Tribe of Benjamin’ and the ‘House of David’ – and therefore Jesus and his “sister”, “wife”, or “lover”, Mary Magdalene.
According to a document, the Priory of Sion ‘Grandmaster list’ includes many historically renowned figures such as the alchemist Nicolas Flamel who was Grandmaster between 1398–1418, Rene d’Anjou (1418–1480), Leonardo da Vinci (1510–1519), Sir Isaac Newton (1691–1727), Claude Debussy (1885–1918) and Jean Cocteau (1918–1963).
Much has been written about the Rennes mystery with some claiming to have solved it, others presenting the story as fact, and others presenting the story as fiction.
The associated themes are many and convoluted and so I won’t dwell too much on it here – suffice to say that the phenomenon is still going strong, indeed stronger than ever. However, when we dig deeper into this mystery we find that many of these beliefs have their origin in a multitude of suppositions, ideas, theories and projections that only serve to cover an even greater secret.
Like most things, the Rennes mystery has become a focus for what we believe or ‘want to believe’ – in that we tend to project our own ideas and beliefs onto this mystery which has now become a “broth” spoiled by the attendance of too many “chefs”.
It’s possible that many of these theories bear some factual relevance to the whole mystery as everything in existence is closely connected at some ‘deeper level’. And its indeed possible that some theorists are pointing out certain ‘facts’ that even the “conspirators” of the mystery were/are unaware of, as there also exist the more ‘subjective connections’ which are no less meaningful as everything is intimately linked to the collective human psyche. I say this because there are some interesting themes associated with the mystery that indeed allude to the conclusions I am putting forward in these presentations.
If much of the mystery surrounding Rennes-le-Château really is a hoax as many now believe, then it’s possible that in their endeavour to falsify or fictionalise certain exoteric and esoteric connections – which on the surface are generally seen as “non-existent” – the “hoaxers” may have tapped into a rich vein of information known only to the ‘mystery schools’ and occult traditions, and which had remained in secrecy for thousands of years. In this regard, again my interest is in the paintings of Nicolas Poussin – one of the few artists who are cited in The Holy Blood and the Holy Grail as having held the “key” to an important secret – at least this much is fact.
As we will see in the course of these pages, I am now convinced that much of the hidden information encoded in Poussin’s paintings, and the secrets they convey, point to one of the most important locations on the Earth – Giza – and point to something more incredible than any of the more sensational religious theories that have emerged from the Rennes mystery, only to find their way into a recently published fictional novel, and then exploited as the truth.
Of course, it’s possible that Poussin’s connections to the mystery have been falsified and that he had nothing to do with the so-called mysteries of Rennes-le-Château. However, there’s no question that Poussin, a Jesuit, was also an initiate into the mysteries. Some of his close friends were Rosicrucians and he was no doubt associated with some very powerful people who understood and adopted the principles of Egyptian mysticism and who had reason to believe that the ancient Egyptians were heirs to the knowledge and wisdom of a lost civilisation or culture that was believed to have once flourished during a ‘Golden Age’ when the Earth was upright and everything was in balance, as we will see.
Figure 3: The Hindu physio-kundalini-chakra system illustrating the Nadi nerve channels.
Note that the positive, male pingala is Red (Solar) and the negative, female Ida is White (Lunar).
Being neutral, the human 'Prime Meridian' - the central Sushumna channel - is often depicted as the non-colour Black.
Figure 4: 30-degree angles, creating a diagonal cross.
Figure 11: The god Heka. Detail from the papyrus of Khonsu-Renep. New Kingdom.
Figure 12: Osiris as the Djed Pillar.
In Poussin’s painting the two staffs are featured in front of a large tree like the crook and flail
held by Osiris – especially when Osiris is depicted as the Djed column or pillar.
Detail from Aniho papyrus, 19th Dynasty.
Figure 13: The god Khonsu holding the upright Djed column between the tilted Crook and Flail - like the central pillar
between the two "Solstitial Lions" above the Gate of Mycenae, and the third pillar between the Masonic pillars of Jaochim and Boaz.
It should be noted that the Djed in this positionrepresents the spine and the central sushumna between the pingala and ida channels.
Note also the Uraeus, (Kundalini serpent) exiting Khonsu's brow at the location of the "Third Eye".
Figure 14: The XP Chi-Rho monogram hiding within the Arcadian Shepherds painting.
Figure 15: The Skull and Crossbones which is based on the XP Chi-Rho monogram.
Its no longer a surprise to find that the thigh bones in the earliest official versions of the symbol, are at the Earth's obliquity angle.
Figure 16: The Skull and Crossbones of Osiris on the lid of the coffin in the Masonic Tracing Board.
"The omission of Orion's head and legs in the constellation of Orion, illustrated above, is immediately noticeable.
It would seem that Orion has had his legs and his head chopped off!
A similar practice was observed by the Knights Templar five and a half thousand years later when they were buried. By adopting this practice the deceased Knights Templar became as one with Orion and, by implication, Osiris. The "skull and crossbones" . . . Orion's missing head and legs … were also adopted by the Knights Templar as their emblem, their symbol of recognition. [ . . . ] the severed head of Orion is in fact the Sun. Moreover it is the headless Orion which is the source of legends about severed heads".
Figure 17: The "arms" and "Torso" of Osiris reflected in the constellation of Orion.
Now looking again at the encoded information in Poussin's Shepherds painting and the conclusions we have arrived at, we are compelled to ask ourselves . . . why would a reference to the ancient Egyptian god-king Osiris be in a painting that also includes the name Arcadia – a place believed to be associated with Greece and the god Pan?
‘ . . . the prediluvial world had a system of global transportation – boats as well as airplanes – and natural agriculture based on the idea that Earth would produce all that was needed if it was “untouched”. He [Kushi] says, “People in Paradise had freedom without the concept of freedom, health without any idea what health was, happiness without the need to speak of happiness”.
“Arcadia was one of the primary mystery names given to the state of the world in a Golden Age, and the whole Arcadian imagery and allegory is that of a Utopia or Paradise on earth that might be achieved. The world is on the threshold of that achievement now, according to the way the evolutionary cycles of divine law work. Jesus Christ and the Buddha prepared us for it in an outstanding way; Francis Bacon...and the Rosicrucian Brotherhood have inaugurated it. All have used Arcadian imagery, the meaning of which pierces deep, right to the heart of all mysteries”.
‘From Poussin’s painting, Arcadia now takes on the tinges of a melancholic contemplation about death itself, about the fact that our happiness in this world is very transitory and evanescent. Even when we feel that we have discovered a place where peace and gentle joy reign, we must remember that it will end, and that all will vanish’.
Figure 18: The Original Symbolic Meaning behind the Chi-Rho monogram which incorporates the Geophysics of the Earth,
the Sun at the Solstices and Equinoxes and how each component applies to the ancient Egyptian Triad of Osiris, Isis and Horus.
We can see that the deeper symbolic, astrotheological meaning illustrated above, has been passed down through the Gospels, and then finally presented in the Masonic 'Two Johns' symbolism.
Figure 18: The 'Two John' of Masonic symbolism. Jesus Christ emerges as the generative "Third Force" (Horus) - formerly hidden behind the Circumpunct Sun/Solar symbol centered between two parallel lines, and which is often placed between the Two Johns. (Image bottom right).
In the gospels, Osiris is portrayed by John the Baptist, and we can see why in many of the paintings that feature John the Baptist, he is depicted pointing at 23.5 degrees - as this is an angle associated with Osiris, whose Atef Crown and arms are depicted at the same angle in ancient Egyptian art telling us that he represents the conditions relating to the tilted Earth.
In the gospels Isis is occulted; hidden behind the character of Mary Magdalene, and is later also portrayed by John the Evangelist, otherwise known as John "the Divine".
But as we can see, Jesus Christ emerges as the generative "Third Force" in this particular Triad and takes the place of Horus.
In Masonic symbolism, the 'Two Johns' are both shown flanking the circumpunct, Sun/Solar symbol, which is really in reference to Jesus as Horus the Sun god, and in the central Equinoctial position of the Sun.
Earlier we saw examples of Mary Magdalene holding the Crucifix (Jesus on the cross) at the axis angle of 23.5 degrees.
Because Osiris and Horus are interchangeable - both being aspects of the same individual - Jesus here at the angle of 23.5 degrees is being portrayed in the role of Osiris who represents the tilted axis, and it is really Isis, not Mary, who is mourning him.
This is the Gnostic message being conveyed to the viewer of these paintings and from one initiate to another, and though it may appear confusing and convoluted, it was intended that way to confuse the uninitiated - especially members of the Church who, if they had the eyes to see the message and could prove it - which would be difficult if not impossible to do because of its purposely-executed, subtle ambiguity - would waste no time in having the artist arrested and charged with heresy.
Indeed, spiritual enlightenment and self-empowerment was the original message of the Gnostic Gospels, and it is well known that the Church burned many of the original Gospels and suppressed any mention of them and instead kept the versions of the Gospels it approved of – i.e., those attributed to the four evangelists, Mathew, Mark, Luke and John . . . with some amount of expurgation and editing of course.
The Gnostic Gospels, of which there were many, were comprised of poems, philosophical treatises and mythical accounts of the creation of the universe as well as magical formulas to attain altered states of consciousness and ultimately enlightenment, and so offered a powerful alternative to the Orthodox Christian tradition and the Catholic Church, which for power, had sought to place itself between the individual and God. It was no wonder that the Gnostic Gospels were later declared heretical.
It could just as well be that by hiding and obscuring much of Mary Magdalene’s presence behind the male personality of John the Evangelist, the writers of the gospels - and/or even the Church itself who had edited the gospels it chose to go into the New Testament - had downplayed the feminine role which was prominent in earlier pagan religions, and tried to hide the fact that the lives of John, Mary and Jesus, were really based on the ancient Egyptian, pagan Triad of Osiris, Isis and Horus; anthropomorphic deities who really personified the ‘three forces’, known as “The Law of Three” in esoteric lore that were observed throughout nature and also within man and within the collective consciousness.
If these people existed at all, then they were later moulded into the symbolism associated with the internal processes of the human psyche. John and Mary can therefore be equated with the ancient Egyptian Osiris and Isis, and Jesus with Horus.
All three members of this Triad symbolize the three forces of consciousness known as the ‘Secret Combination’ in Masonic lore.
In other words, the story of these deities and others with whom they interacted, was used as an allegory to communicate to the initiate the internal processes by which enlightenment or illumination is attained, and so we can see how the sacred Triad and all that it conveys, also made its way into the Gospels – played out again in the story of Jesus, as it has in so many mythical and religious narratives throughout the world before and since, and although seen as pagan, it should be emphasised that this story and indeed the whole messianic mythos, is fundamentally shamanic in origin and based on shamanic experience.
Indeed the Triad based on the “Law of Three” and with the “Law of Seven”, is also shamanic in origin.
The most well-known Triad is the ‘Father’ (Godhead) ‘Son’ and ‘Holy Ghost’ – the Holy Trinity of Christianity.
While reciting the words “In the name of the Father, Son and Holy Ghost”, one makes the sign of the cross by touching the forehead, then bringing the hand down to the heart and then touching the left shoulder and then the right shoulder. Sometimes one just touches the head and then both shoulders.
To conclude then:
Its clear to see that the ‘Two Johns’ then, also represent the male and female opposites as represented by Osiris and Isis, who stand on either side of Horus (Jesus).
Again, we have here the Triad as expressed in the colours Red, White and Black; of positive (male,) negative (female) and the higher and generative, neutral third force, being born from the first two and who is a composite of both these opposites . . .
The symbolism here describes man’s union with God through a state of consciousness we would call ‘neutral,’ which is said to be the nature of the androgynous or genderless soul, compared to the positive and negative, male and female opposites that belong to the physical world and in which man’s consciousness is divided.
We can see then, that the ‘neutral third element’ or “third force” (a term used by the Sufi mystic, Gurdjieff), takes things to whole different level; in that it represents a higher state of consciousness, closer to God and the Source.
This higher state of consciousness is personified in the hawk or falcon god Horus on whom Christ was based – the “son of the Sun” (Inner Sun) and the son and reincarnation of Osiris and Isis.
Like the highest Sun god RA, Horus is a falcon – a bird – and because again he represents a higher state of consciousness and is closer to God (RA) than the being that is divided in two by his or her focus within a world made up of opposites.
We should note further connotations here in the fact that Osiris (male) is dead and Isis (female) is alive. It appears we are being told that to exist in the physical world of the senses and dual appearances, one’s consciousness must also be divided in two, but we are being told that one can also rise above all Duality and the inner conflict this can bring, and ascend in frequency to this third, ‘neutral state’ where both these divisions are united as one again.
This is basically the meaning of the Holy Triad – its three components, positive, negative and neutral, which are really all present in one person, as indicated by my placement of Osiris, (who represents "Everyman") at the centre of the Chi-Rho cross as illustrated above.
“Every triad has a male, female and androgen . . . Eve is within Adam . . . They are the first androgen. I found the same idea in ‘The Gnostic Gospels’. [In] ‘Isis Unveiled’ Mme Blavatsky compares the Indian, Chaldean, and Ophite systems. The One becomes dual, or Father and Mother, when manifesting. From the union of the two emanates a third, which is the Son, or manifested Logos . . .
“Blavatsky had an idea about the creation process... [T]he male aspect of the Deity has the ideal thought for a creation. This implants a seed into the womb of the feminine aspect of Deity (Sakti), who then ‘gives birth’ to the Son, the Logos, The Word made flesh. She and others say that the ‘Son’ is actually an androgen ‘Child'”.
I like the fact that if we were to now 'tilt' Poussin's painting - rotating it 30 degrees backward or to the right, so that the 30-degree cross becomes perfectly upright and square - i.e., 0º - we find that the 23.5º angle of the left side of the tree now reads as 6.5º, and the right side of the tree, which is also 30º becomes 0º.
Figure 19: Rotating the painting to the right so that the 30-degree cross is upright.
In doing this, the angle of the tree "magically" transforms from 23.5 degrees to 6.5 degrees.
23.5º + 6.5º = 30º.
These three angles expressed a deep relevance to me personally. It was a logical step to rotate the cross and with it the painting to square the cross, and in doing so, the result was these three angles which I have seen encoded elsewhere, and in one of the world's most famous monuments . . . a fact I will reveal later.
Based on these results, and suspecting that it contained the same code, I decided to do the same with the painting, Bacchus: John the Baptist in the Wilderness. As mentioned earlier (see here), this painting was originally completed by an unknown follower of Leonardo Da Vinci between 1510 and 1515, and based on a sketch of John the Baptist by Leonardo titled Design for John in the Wilderness. It was then overpainted between 1683 and 1693 and given the title Bacchus. As many will know, the Greek god Bacchus is equatable with the ancient Egypian god Osiris - more evidence that John the Baptist was based on Osiris.
Again, we are dealing with a 30-degree angle in this painting made by John's pointing finger, which we can rotate backwards and to the right to make it perfectly level at 0º.
Figure 20: Rotating the Bacchus painting to the right so that the 30-degree angle is level - i.e. 0º.
"I have held up a light in the obscurity of Philosophy, which will be seen centuries after I am dead. It will be seen amidst the erection of Tombs, Theatres, Foundations, Temples, of Orders and Fraternities for nobility and obedience — the establishment of good laws as an example to the World.
For I am not raising a Capitol or Pyramid to the Pride of men, but laying a foundation in the human understanding for a holy Temple after the model of the World. For my memory I leave it to Men's charitable speeches, to foreign Nations and the next Ages, and to my own Country after some Time has elapsed"..
"But we are not dedicating or building any Capitol or Pyramid to human Pride, but found a holy temple in the human Intellect, on the model of the Universe . . . For whatever is worthy of Existence is worthy of Knowledge—which is the Image (or Echo) of Existence".
"For knowledges are as pyramids, whereof History is the basis. So of Natural Philosophy, the basis is Natural History; the stage next the basis is Physique [Physics]; the stage next the vertical point [apex] is Metaphysique. As for the vertical point, opus quod operatur Deus à principio usque ad finem, the Summary Law of Nature, we know not whether man's enquiry can attain unto it".
"Poussin himself said his paintings had a definite and even secret import when he suggested that “ …these things, (the meaning in his paintings) I believe, will not displease those people who know how to read them”. Art scholar Judith Bernstock says that to ‘receive Poussin’s paintings …..one must study them continually and closely, always searching them for connections’. As Bernini said Poussin was ‘an artist who works up here' (pointing to his head: i.e. with his brain) and he was someone who was also 'a great storyteller’. The suggestion that the paintings of Poussin have a hidden meaning then comes from the mouth of the artist himself. Poussin had indicated that the meaning in his paintings could be discerned by those who knew how to read them. By this he meant his patrons or others who were able to read the canvases, in other words, those who were initiated".
Figure 21: Left: 15th century engraving of the constellations of the serpent/dragon Draco and the bears Ursa Major and Ursa Minor.
This illustration is from Poeticon Astronomicon (Poetic Astronomy), a star atlas by Hyginus that was published in 1482.
Credit: Royal Astronomical Society.
Right: Star asterisms for the constellations of Draco, Ursa Major and Ursa Minor, also showing the Precessional cycle and the Ecliptic Centre.
Figure 22: The Chinese Tai Chi or Yin Yang symbol.
"Although the connection between Draco and the yin-yang symbol has been almost completely lost, it can be re-established via consideration of the relevant mythology. Most people know that the yin and yang represent forces of positive and negative energy, which balance each other and sustain the universe – but an older myth gives the same role to the serpent.
"In Chinese, yin literally means “moon.” The dark patch, with the white sphere inside, represents the full moon (often portrayed as a woman with a snake’s body). Yang, on the other hand, literally means “sun,” and is represented by a Tiger (similar to the Western sun-symbol, the lion). Together, they formed the body of Draco; the sun became a symbol for the dragon’s head while the moon became a symbol for the tail. It is the separation of these two energies, and the interplay between them, that generates and sustains the universe – known in the East as the “Tao.”
"This is not a balance or a harmony: it is an active, constantly moving relationship. The polarities both attract and repel each other, like two sides of a magnet. This is why Draco is always spinning, or “chasing its tail” – he has been divided and is trying to get back together. His head (male) keeps trying to catch up to his tail (female)".
"Recent research by Oliviero has suggested that the enigmatic phrase on the tombs painted by Guercino and Poussin may actually mean: “I am also in the divine tomb” or “also I am in the divine tomb”.
He went on to say:
The translation can even be improved (by) using the past tense for the verb to be, as the sense seems to suggest.
The sentence then becomes “Et in Arcadia ego (fui)”: Also I was in the divine tomb.
As a matter of fact, the word “fui” (I was) is composed of three letters and can perfectly fit the three dots (if we think of them as markers for lacking letters) Pierre Plantard talked about. The sentence could, in this way, represent a marker to recognize “those who know the secret”, as a kind of sect or elite group, who had the privilege to go inside the “divine tomb”(whatever it could be) because the clear meaning of the motto is “I also am one of those who entered the divine tomb”.
If true, then who were these people who had first discovered and entered the tomb of the "Shepherd God or "Shepherd King"?
The answer to this may lie in the title of the Arcadian Shepherds paintings themselves, as it is possible that this group called themselves "The Shepherds of Arcadia". And we find that such a group did indeed exist in the 15th century who went by this name; a circle of artists and poets led by Lorenzo Medici and who met regularly at the Villa Medici, according to art historian Erwin Panofsky.
Its possible then, that the shepherds we see in the paintings represent the group or society that may have discovered the tomb; a group who guarded a 'sacred tradition' associated with Arcadia and went by the secret name the "Shepherds of Arcadia".
“Though generally revered elsewhere in ancient Egypt, at Edfu and Dendera the crocodile is the subject of ritual slaying in temple scenes. The rituals of these “anti-crocodile” cults are an easy fit into the story of Horus and his struggle for kingship against Seth. The final destruction represents victory over chaos and evil”.
Figure 2: Left: Horus spearing the head or eye of the crocodile. Right: The Hindu god Krishna crushing the serpent's head under his heel.
But its when we examine the latter-era depictions of St. George and the Dragon, that it truly becomes apparent as to what the symbolic meaning behind this ancient imagery is really pointing to.
Figure 2: Left: Illustration from page 21 of The Book of Abraham the Jew (14th Century) associated with the Alchemist Nicolas Flamel.
Note the Black, Red and White colours of the chargers, ridden by the "Horsemen of the Apocalypse". The fire being discharged by the dragon and the neck and head of the dragon are at the Earth's obliquity angle.
Right: Detail from "Baptism of Christ: Christ, John the Baptist and angels" by Piero della Francesca (1450).
Note the three angels clothed in the colours of the Triad, Red, White and Blue/Black.
As we saw earlier, a skull features quite prominantly in the painting Et In Arcadia Ego by Guercino as it does in numerous Vanitas paintings - a theme that was popular with some artists in the 17th century. A skull also makes its way into Shakespeare’s Play of Hamlet.
Hamlet examines a skull, and wonders whom it might have belonged to. This connection is all the more significant when we realise that Hamlet is based on an ancient myth about the “Mill”, a metaphor for the Earth’s axis.’
In their book Hamlet's Mill, authors Giorgio De Santillana and Hertha Von Dechend, reveal that Hamlet is based on the Amleth, Amlodhi or Frodhi of Scandinavian myth. This individual was the proud owner of a mill – again, a metaphor for the Earth’s axis on which the Earth turns and gyrates.
Surprisingly, the story of Hamlet is a very ancient one reaching far back into the depths of antiquity.
The authors trace the same story in Livy’s account of Lucius Junius Brutus in Rome; the national epic of Finland, The Kalevala and its hero Kullervo Kalevanpoika; the national epic of Iran – i.e., Firdausi’s Shahnama (the Book of Kings) and its hero, Kai Khusrau – as well as the ancient epics Yudhishthira and the Mahabharata, of India. And lastly but not least, the ancient Egyptian myth of Osiris and his son and avenger Horus, on whom the character Hamlet is originally based.
In the story, Hamlet avenges the murder of his father by his uncle, just as Horus avenges the murder of his father Osiris by his uncle Set. The Walt Disney movie The Lion King is a recent rendition of the same story.
After comparing these stories with other ancient myths the authors conclude that these astronomical myths seem to allude to a “cosmic collision” of some kind which caused the obliquity of the Earth’s axis and which then gave rise to our seasons and the 25,800-year Cycle of Precession. Again, it’s possible that the perpetrator of this global disaster was a comet or meteor as theorised by contemporary authors, Christopher Knight and Robert Lomas, also David Wood and Ian Campbell – to give just a few examples.
In the narrative of the myth of Osiris, I highlighted certain numbers in red and bold. These numbers are 12, 30, 360 and 72.
In his book Fingerprints of the Gods, journalist and author, Graham Hancock highlights the significance of these numbers based on the work of Egyptologist, Jane B. Sellers who tested the theories put forward by the authors of Hamlet’s Mill.
Seller’s thesis is that these key numbers are associated with the ‘Law of Precession’. If so, says Hancock, then it would seem that these numbers have been encoded in the myth by an advanced civilisation as a means for preserving information and knowledge about Precession.
As already mentioned, the numbers 12, 30 and 360 could be associated with the time before the tilt of the Earth’s axis when it was believed to be vertically-aligned with the Pole of the Ecliptic and the Ecliptic Centre. If so, then during that time a year would have consisted of 360 days. Again, it’s possible that the 360-degree circle originates from this time.
As also mentioned earlier, it’s also possible that the Moon was also aligned with the Ecliptic, resulting in a month of exactly 30 days – every month beginning with a Solar Eclipse and ending with a Lunar Eclipse.
If so, then a year would consist of 12 months, each month consisting of exactly 30 days – unlike today. The 12 also relates to the twelve signs or star constellations of the Zodiac – each sign closely related to each month. Each sign of the Zodiac, as shown on a 360-degree circle, still consists of 30 degrees and 3 sets of decans consisting of 10 degrees each.
With the tilt of the axis and its slow precessional wobble, which takes, just under 26,000 years to complete – again, the ‘law of precession’ and its cycle - also known as the ‘Great Year’ or Platonic Year of 25,920-years - comes into effect.
Returning now to Poussin's painting:
In my view the large inclined tree behind the sarcophagus represents the axis mundi or 'World Tree'. I say this, because if we measure the left side of the tree, we find that it is exactly 23.5 degrees from the vertical – the same angle as the Earth’s axis.
Interestingly, the right side of the tree is 30 degrees from the vertical, and again perpendicular to the 30-degree angle of the sarcophagus.
‘This is meant to be only an essay. It is a first reconnaissance of a realm well-nigh unexplored and uncharted. From whichever way one enters it, one is caught in the same bewildering circular complexity, as in a labyrinth, for it has no deductive order in the abstract sense, but instead resembles an organism tightly closed in itself, or even better, a monumental “Art of the Fugue”.’
Hamlet’s Mill: An Essay Investigating the Origins of Human Knowledge
and its Transmission through Myth by Giorgio De Santillana & Hertha Von Dechend.
(David R. Godine, Publisher Inc, 1969). p. 1.
For the original text featuring the Shining Ones see The Book of Enoch. R. H. Charles, W. O. E. Oesterley. (Book Tree, 1998.)
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