Like the two faces of Janus we have instead two lions, each depicted back to back and looking in opposite directions; East and West – one face towards yesterday and one face towards tomorrow – past and future.
The next connection to the 'Two Johns' and Janus, and one that is hardly ever mentioned, is that the Roman ‘two-faced’ god Janus was originally based on the ancient Egyptian god Aker or ‘Ruti’ the guardian and gatekeeper to the Underworld.
Aker was depicted as,
‘Two lions seated back to back and supporting the horizon, over which extends the sky. The lion on the right is called Sef, i.e., “Yesterday,” and that on the left Tuau, i.e., “Tomorrow”.’
The Book of the Dead. (The Papyrus of Ani) by E. A. Wallis Budge (1895).
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.
All this is cleverly encapsulated in Poussin's painting of the three shepherds who wear the colours of the Triad and are examining the tomb – all three symbolise the triadic nature of consciousness – all present in the person whom this tomb belongs to . . . Osiris.
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].
Precession and the Pyramid Astronomical Knowledge in Ancient Egypt by Jim Fournier, 1996.
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”, as he is commonly called”.
Ancient Freemasonry by Frank C Higgins. 1919. p. 229.
It would appear then, and based on good authority, that the dead god Osiris represents the tilted, celestial pole and Meridian of 23.5°, while his son and reincarnation, the god Horus or Heru, represents the resurrected and re-erected pole and Meridian 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 “Rch/Light” and 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 Prime Meridian that ran through Giza, aligned with the River Nile, and why in death he holds the diagonally-crossed crook and flail associated with the Summer and Winter halves of the year – the Solstices; with the centre point of the diagonal cross symbolising the crossing of the Equatorial and Ecliptic Planes on the two days of the Equinoxes.
The diagonal cross also marks the four colures (the four fixed signs of the Zodiac) in the Precessional Cycle – precession again being the result of the tilted axis.
Below is my own rendition of the Chi-Rho symbol which I feel encapsulates the symbolic astrotheological connections outlined above:
Now as we know, the Alpha-Omega signifies only one of these points in the cycle being the end-beginning point – as symbolised by the serpent or snake Ouroboros swallowing its own tail.
BUT, it really relates to both points as the Equinoctial line marked by the Sphinx at Giza – the same line on which these two points in the Annual Cycle are positioned end to end and where and when the Sun rises and sets on the days of the Equinox.
This paradox is solved when we realise that both points – i.e., the end-beginning point and the halfway point in EVERY CYCLE – are really the same ONE point – the Zero Point – expressing the esoteric principle of the shamanic Centre – the Monad – as taught in the mystery school of Pythagoras.
This is illustrated in the Lemniscate (figure 8 symbol), which expresses the point of Infinity at its centre.
Note the three smaller pyramids adjacent to G3 set horizontally.
There are also three small pyramids to the East of G1 (Great pyramid) set vertically.
Below is an aerial, satellite view of Giza.
Here we can clearly see the diagonal arrangement of the three great pyramids, G1, G2 and G3, and also the two sets of three small pyramids adjacent to G1 and G3.
(Scott Creighton's theory as to the true purpose of these small pyramids is explained in subchapter Precessional Clock below).
The Sphinx to the right is also clearly visible.
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 and scholars, 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 story is traced to 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 animated movie The Lion King (1994), 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.
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/skull of the Chi-Rho symbol.
Furthermore, its interesting that to create the monogram there are only three references in the painting, being the sarcophagus and the two staffs.
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" – known as the 'Phosters' by the Gnostics and the Illuminati.
It was also used on the coins of Ptolemeus III from 247–222 BCE, as well as being an emblem of the Chaldean Sky/Sun god, and has the definition 'Everlasting Father Sun'. (See Dictionary of Mythology, Folklore and Symbols by Gertrude Jobes, 1990).
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 dates 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 again, 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 Order of the Knights Templar were founded in 1128 by the Illuminati, whose true origins date back to the Greek philosopher Pythagoras of Samos (c. 570 – c. 495 BCE – their first Grandmaster.
It is claimed by the Illuminati themselves that the Jesuits, as were the later Rosicrucians – and after them, the Freemasons – were all founded by the Illuminati – each as a “front” to conceal their own activities.
Apparently, the Jesuits were initially created to infiltrate and destabilise the Catholic Church.
There may indeed be some truth to this, as the Jesuits were said to swear an oath upon the symbol of the skull and crossbones.
Another interesting fact is that 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.
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’.
Figure 5: The tree at 23.5 degrees.
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 which he says were more likely to have been written by Francis Bacon, an Illuminatus, whom many believe was also a Rosicrucian – Rosicrucianism having been originally founded by the Illuminati in the early 17th century, as were so many other esoteric groups before and after.
There is 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’.
By today's estimates, the Earth’s axis is tilted by 23.43 degrees – meaning that the Equator is tilted 23.43º in relation to the Ecliptic Plane – 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 the axis would be pointing if the Earth were upright and it's axis 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.
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 32nd-Degree Mason 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 acknowledged 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:
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 . . .
The loaves of bread in Elsie Russell's Vanitas paintings, along with the angle of 23.5 degrees – (see bottom of this page) – 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 60° – being 30° from the vertical – an angle perpendicular to the sarcophagus which is at the angle of 30 degrees from the horizontal.
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 across his chest.
They were often held by Pharaohs and high officials as symbols of authority, much like the ceremonial sceptre 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 or sahu) 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' (see figure 9 below).
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° 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 75°.
‘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)’.
It is my view that Poussin encoded the Chi-Rho symbol because it ultimately points to Giza as the source of the esoteric mysteries associated with the ancient Egyptian god Osiris and the sacred triad of Osiris, Isis and Horus on which the Christian mysteries were based, as acknowledged by many of today's alternative historians and researchers.
And its also my view that in addition, Poussin had encoded the angles of 23.5° and 30° because they provide the coordinates for Giza, as we will discover in the next presentation.
Now you may ask, “But where is the PROOF that Poussin had INTENTIONALLY encoded these angles in his painting of the Shepherds?”
Well again, as we will see in the next presentation, it is now an undeniable fact that for those of us who had possibly found these angles, Poussin had also provided the proof we would need that he had intentionally encoded these angles by using a well known geometric formula as a template for his painting of Les Bergers d'Acardie version 1.
What we are about to discover, also provides proof for the encoded information in Poussin's two self portraits in which Poussin uses the same formula . . .
Going back to Poussin’s painting we can see the centre 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 - the celestial polar axis and the Prime Meridian of the Earth.
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.
However, the real reason why Poussin encoded the Chi-Rho monogram in his painting may be due to the notion that in the name itself is pointing to a specific location.
It is this that also provides the motive as to why Poussin angled the diagonal cross of the Chi-Rho at 30 degrees, and why he also referenced the Earth's axis angle of 23.5° as a kind of geodetic “benchmark”, as this special place on the Earth is located on the 30th Parallel - 30° North of the Equator . . .
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.
It is worth mentioning – and those familiar with the most reliable esoteric literature will know – that 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 original Monad Source and 'product' of the first two forces, just as the Sun-god Ra is born as Horus – 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 the colour blue – especially dark blue – is substituted for the non-colour Black.
The colour-code theme of Red, White and Black which I first brought attention to in the book The Serpent Grail, (2005), is a familiar theme in numerous esoteric sources, and is worth some comment here.
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 the publication of this book, 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 also 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 (2003) by Dan Brown is a fictional work spun from the theories first presented in The Holy Blood and the Holy Grail, but the bloodline of Christ or the Holy Grail, as it falsely relates to Christianity, 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 until now.
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), based on an Ancient Geometric Formula, which I have introduced in a series of presentations under the same title. See here:
The code also appears to contain symbolic clues that point to a possible global catastrophe in the past, unparalleled in our officially-gathered recorded history; an event that may have 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.
Recurrent in these paintings are certain elements of one myth in particular: the ancient Egyptian myth of Osiris, whose backbone was symbolised by the Djed Pillar, which also represented the shamanic axis mundi – the “world tree” axis.
Again, and as expressed by 32nd Degree Mason Frank C. 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 (2012).
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.
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 Osiris' son and reincarnation, Horus.
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 in this painting Poussin had encoded a reference to the ancient Egyptian god Osiris as the Shepherd God, and that it is Osiris' 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 sacred ancient Egyptian 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’, (as signified with the inclusion of the River god Alpheus reclining in the foreground), 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.
Finally my view that Poussin was familiar with Osiris and had deliberately encoded a reference to this ancient Egyptian pagan god, is again evident in the fact that Poussin was good friends with the esteemed, German Jesuit scholar and polymath, Athanasius Kircher.
(See presentation, The Giza Connection).
British scholar Francis Yates referred to Kircher as the “most notable descendant of the Hermetic-Cabalist traditions” and wrote that Kircher was “much preoccupied with Isis and Osiris as the chief gods of Egypt”.
Figure 1: Les Bergers d’Arcadie (Version 1) by Nicolas Poussin, (1626 - 1629).
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 (1627 is usually the accepted date), 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.
Although the second version, painted c. 1640 is more popular, this first version is very interesting as it holds a wealth of information - many significant clues that are pointing to something specific and which many researchers who have focused their energies on searching for pentagonal geometry alignments, have clearly overlooked.
There are several symbolic themes in the painting. All are worthy of further exploration.
We will will deal with each of these first in this presentation.
Figure 4: The angles of 30 and 75 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 6: 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 on this page, 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 7: 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 of the Scribe Hunefer.
Right: The Masonic Compass, its open legs at the angle of 23.5°, again illustrating the Triad
of the two Solstice points of the Sun and the central position of the Sun during the Equinoxes.
Figure 8: Detail from the Papyrus of the Scribe Hunefer, superimposed over Poussin's painting, The Shepherds of Arcadia Version 1.
Figure 9: 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).
Ancient Freemasonry by Frank C Higgins. 1919. p. 130.
Figure 3: 30-degree angles, creating a diagonal cross.
Figure 13: The XP Chi-Rho monogram hiding within the Arcadian Shepherds painting.
Figure 14: 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.
"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 16: The “arms” and “torso” of Osiris reflected in the constellation of Orion.
“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”.
Francis Bacon, Advancement of Learning, Bk II.
See also The Great Instauration by Peter Dawkins, FBRT, 1999.
“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”.
Francis Bacon, Novum Organum, Bk I, Aph.120.
“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”.
Francis Bacon, Advancement of Learning, Bk II.
In my view the large inclined tree behind the sarcophagus represents the shamanic 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° from the vertical – the same angle as the Earth’s axis of rotation.
Interestingly, the right side of the tree is 30 degrees from the vertical, and again perpendicular to the 30° angle of the sarcophagus.
Copyright © Gary Osborn 2012. All Rights Reserved.
Figure 2: The skull resting on the sarcophagus. Detail from Les Bergers d’Arcadie (Version 1).
Figure 10: The god Heka. Detail from the papyrus of Khonsu-Renep. New Kingdom.
Note the rear end of the Lion or Sphinx, pertaining to the Age of Leo, reclining on the pedestal above Heka's head.
Its possible that this frontal curvature of the lion may have been the inspiration for the 'P' in the Chi-Rho symbol – with the crossed serpents creating the diagonal X cross of the Chi-Rho. See 'XP' section below
Figure 11: 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 12: 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 Jachin and Boaz.
It should be noted that the Djed in this position represents the spine and the central sushumna between the pingala and ida nerve channels.
Note also the Uraeus, (Kundalini serpent) exiting Khonsu's brow at the location of the “Third Eye”.
Figure 15: The Skull and Crossbones of Osiris on the lid of the coffin in the Masonic Tracing Board.
Figure 18: The Pyramids of Giza, looking North.
G3 left foreground. G2 behind centre and G1 (Great Pyramid) behind right.
(Photo by Scott Creighton).
Figure 19: The diagonal orientation of the Pyramids of Giza. Aerial Satellite view.
Note the Sphinx to the right gazing East. Note also the city of Cairo to the East.
Figure 21: Applying the Chi-Rho monogram to the Giza Plateau.
Artwork: Copyright © Gary Osborn. 2010. All Rights Reserved
As mentioned, the name Chi-Rho, from which the name Cairo is associated, appears to point to the nearby ancient site of Giza - situated only 10 miles West of Cairo.
The earliest examples of the Chi-Rho cross at an angle that is said to be representative of the chi formed by the ecliptic and equatorial planes where and when they cross each other on the days of the Spring and Autumn equinoxes.
"This image is most familiar in Plato's Timaeus, where it is explained that the two bands
which form the "world soul" (anima mundi) cross each other like the letter chi". (See here).
However, the cross could also represent the positions of the Sun on the days of the Solstices, and if so, then this would mean that the geometrical design of the Chi-Rho monogram is really based on the annual cycle – i.e., the rising and setting positions of the Sun on the days of the Solstices and the Equinoxes at Giza . . . and we see this clearly in the diagram below.
Higgins’ statement that the XP, “Chi-Rho” derives from the Sanskrit word “Rch” meaning “Light” is especially meaningful, 'in light' of what I have presented thus far.
His statement too that the ancient Egyptian derivative is “Ch R” for Horus, is significant and supports the belief that Jesus “the Christ” was based on the pagan Horus “the KRST” – the son and reincarnation of Osiris the ‘resurrection god’.
Also, the epithets given to Horus – “of the Pole” – “of the Two Horizons” – as mentioned in the quote by Higgins, again shows an evident astrotheological connection between the shamanic/pagan ‘resurrection god’ (e.g., Osiris, Horus,) and the Earth’s axis and Prime Meridian, as well as the rising and setting positions of the Sun as it moves back and forth between its extreme solstice positions on the horizon. We will return to this later.
These associations, even if they be considered vague and convoluted, reveals a relationship – not only between the Templars and the source of their beliefs and knowledge, being Cairo-Giza at Egypt – but also a connection with advanced, ancient geophysical knowledge based on the celestial pole of the Earth and its obliquity angle.
We should note that Higgins being a 32nd Degree Mason is a reliable source and so the associations he presents are not to be taken lightly, nor should they be considered a mere contrived fantasy.
There is no doubt that the Freemasons possess some remarkable factual information and knowledge about our past that goes far beyond what has been established by our mainstream scholars and what knowledge has been introduced and allowed into the curriculum of our society’s education system, and there will be more on this apparent dichotomy later.
Let's now turn our attention to the monuments of Giza.
Below is a photograph of the three great pyramids of Giza taken by author Scott Creighton looking towards the North.
Researchers today will refer to these pyramids as G1, G2 and G3.
Because we are looking North, we see G3 on the left and in the foreground. G2 behind centre and G1 (Great Pyramid) behind right.
Some researchers and authors are convinced that the name Cairo, given to the capital city of Egypt, some 10 miles East of Giza, was based on the name Chi-rho as given to this Christian monogram or symbol.
Why a Muslim city should have the same name as given to this Christian symbol really doesn’t make sense . . . until we realise that the names Chi-Rho and Cairo are both linked to the nearby plateau of Giza.
Here’s what 32nd Degree Mason Frank C. Higgins has to say on this Chi-Rho/Cairo connection:
Chi-Rho . . . Cairo . . . Giza
‘A still more wonderful symbol of these old cosmic speculations is found in the famous monogram XP, “chi rho,” which is the origin of the name of the modern city near which the pyramid stands – Cairo. [Corrupted by the Arabs to “El Kahiryeh”] This monogram, although placed on the labarum, or standard, of Constantine the Great, in accordance with a vision, appears on Egyptian coins of the Ptolemys and on Indian coins several hundred years B.C. It is the old Sanskrit word “Rch,” meaning “light,” and the Egyptian derivative meaning “Ch R” or Horus, the animating spirit of the earth, “Horus of the Pole” and “Horus of the Two Horizons”, so he is called’.
Ancient Freemasonry: An Introduction To Masonic Archeology
by Frank C. Higgins, (1919). p. 229.
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 – is that the symbolism of the detached head really relates to shamanic experience and enlightenment.
While on the subject of the Templars, I should mention that it has also been noted that the ‘XP’ in the Greek and Latin characters, SIGILLUM MILITUM XPISTI, which is inscribed on the Templar Seal, is a reference to the Chi-Rho symbol of Christ.
“Although the phrase is written using the Latin alphabet, the first two letters of Christ’s name are the Greek XP (Chi Rho) rather than the Latin CHR. I believe this is unlikely to be a mistake, since anyone who knew enough Latin to write SIGILLUM MILITUM XPISTI correctly, would know to write using the Roman alphabet. I submit that this is not a simple spelling error, made out of ignorance”.
Source: The Grandmasters Seal: Mary Leinhart’s Dissertation.
Mary Adelle Leinart, 2004.
Department of Archaeology and Prehistory University of Sheffield, England.
Figure 17: The great seal of Pauperes commilitones Christi templique Salomonis,
the Poor Fellow-Soldiers of Christ and the Temple of Solomon or Knights Templar, dating from c. 1158.
Note the XP inscribed on the left of the Seal.
The spears are at the angle of 23 degrees – possibly another reference the obliquity tilt angle of the Earth.
Below are two medieval-era images of the official Seal of the Order of the Knights Templar.
The Seal shows two knights (Hugh de Payens and Godefroi Sant Omer) on one horse – said to be a symbol of their early poverty.
The inscription SIGILLUM MILITUM XPISTI – followed by a cross – means “the Seal of the Soldiers of Christ”.
The Order was established in 1128 and these Seals date from around 1158, but as we can see the knight’s lances are angled at close to 23 degrees, something that has generally escaped everyone’s notice until now.
Figure 24: The Lemniscate - figure 8 - Infinity symbol. The centre is the point of Infinity - the Alpha-Omega end and beginning point in the cycle.
Artwork: Copyright © Gary Osborn. 2010. All Rights Reserved
Figure 20: Left: The motion of the Sun and its rising and setting points on the Horizon throughout the year.
Right: The motions of the Sun and its Solstice rising and setting points encapsulated in the Chi Rho monogram.
Artwork: Copyright © Gary Osborn. 2010. All Rights Reserved
So, we find that the information associated with the Chi-Rho monogram, actually points us to the location of the great pyramid field of Giza and this would be correct because as we will discover, Giza is the source of all the symbolism we have looked at thus far, as the ancient knowledge pertaining to these two points in the cycle was encoded there.
Click here to go to next page:
Figure 25: 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 26: The 'Two Johns' 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).
Now the following is quite deep and heavy-going, but its worth mentioning the astrotheological connections with the above, which shows how and why Giza is such a special place, and how these astrotheological elements were first encapsulated in the ancient Gnostic/Illuminati Chi-Rho symbol that originated with the ancient “Shining Ones”, and which later became a Christian monogram.
“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'”.
Dreams about the Triple Male Trinity: Corroborating evidence through Crop Circles,
by Joe Mason and Dee Finney.
“In every well-regulated Lodge there is found a point within a circle, which circle is imbordered by two perpendicular parallel lines. These lines are representative of Saint John the Baptist and Saint John the Evangelist, the two great patrons of Freemasonry to whom our Lodges are dedicated, and who are said to have been “perfect parallels in Christianity as well as Freemasonry”.”
Encyclopedia of Freemasonry & its Kindred Sciences
by Albert C. Mackey M. D.
Figure 27:The Two Johns in Masonic symbolism, representing the Summer and Winter Solstice opposites,
with the Circumpunct (the ancient Egyptian Sun/Solar Symbol or ‘RA’ hieroglyph,) between them also representing the principle of the generative 'Neutral Point' and the Equinoctial Point of the Sun during the Spring and Autumn Equinoxes - marking the same 'balanced' conditions if the Earth were upright. The surrounding circle represents the Zodiac of 12 signs – each sign signified by each of the 12 disciples who represent the human race divided into the 12 star signs according to an individual's day of birth.
Coin of Magnentius with
Chi-Rho at ecliptic angles.
The diagonal arms of the Chi-Rho mark the Sun's two rising and setting positions on the two days of the Summer and Winter Solstices, while the vertical axis of the Chi-Rho relates to the Giza Meridian, said to pass through the centre of G1 (the Great Pyramid).
The horizontal axis marked by the A and Ω (alpha-omega symbols) in the Chi-Rho monogram relates to the Equinoctial Line which passes through the Sphinx.
As we can see, the Alpha-Omega (end-beginning) point of the cycle relates to the Equinoctial Line marked by the Sphinx and therefore the Sun's rising and setting positions on the days of the Spring and Autumn Equinoxes in the Annual Cycle.
However, in addition to the Annual Cycle, the Alpha-Omega (end-beginning) point of the 26,000 year Precessional Cycle is also encoded at Giza . . .
In any case, once this correlation between the three pyramids of Giza and the three belt stars of Orionhas been established, we find that there is further information associated with the Orion belt stars and these are the two sets of three small pyramids that Egyptologists have always said were pyramids built for the queens of the three Pharaohs that had the three largest pyramids built (so they believe) – hence the reason why these smaller satellite pyramids are referred to as the “Queen' pyramids”.
In our book, The Giza Prophecy (2012) Scott Creighton and I argue the point that these smaller pyramids were not built as tombs for the Pharaoh's queens, that instead they were built to also represent the Orion belt stars – but this time from a different perspective, in that they work as gauge markers – much like the hands of a clock to present two time periods associated with the cycle of precession.
There are three of these small pyramids next to the smaller of the three large pyramids known as G3.
These are arranged horizontally when looking towards the South.
There is a similar set of three small pyramids next to the Great Pyramid – known as G1.
These are to the East of the Great Pyramid and are arranged vertically as opposed to the horizontal placement of the first set of three pyramids.
So looking towards the South to view Orion in the South sky, we see both a horizontal alignment and a vertical alignment with these two sets of three pyramids.
We find that using the Orion belt stars as a gauge marker, that information relating to the precessional cycle of 26,000 years is encoded in these smaller pyramids that have been built adjacent to the three large pyramids.
These smaller pyramids represent the setting and rising motion of the Orion belt stars on the Eastern and South-Western horizons, which are seen to rise vertically and set horizontally at both these ends of the horizon.
Working to Bauval's initial insight, Scott Creighton discovered that each of these sets of three pyramids encode the two culmination points of the belt stars (maximum and minimum) in the 26,000 year precessional cycle known as the Great Year.
In other words, they encode the two points in the Precessional cycle – the 'end-beginning' (Alpha-Omega) point of the cycle and the halfway point in the cycle, each divided by 13,000 years being half of 26,000 years.
So then each set of three pyramids are arranged at either end of a 'Timeline' stretched across the Giza Plateau from the Great Pyramid (G1) to the third smallest pyramid of the three (G3).
The three vertically-arranged pyramids next to the Great Pyramid (G1) mark the maximum culmination of the belt stars which rise vertically on the Eastern horizon in 2,500 CE.
The three horizontally arranged pyramids next to G3, mark the minimum culmination of the belt stars which set horizontally on the horizon in 10,460 BCE.
We then found that the Sphinx marks the midpoint of this 13,000-year Timeline, and that in its composite imagery of a lion's body and head of a man, it again presents us with the two opposite Zodiac Ages (Leo and Aquarius) as associated with these two points in the precessional cycle as marked by the so-called “queen pyramids”.
Author Robert Bauval's theory is that the arrangement of these huge, conspicuous pyramids at Giza, again, referred to today by alternative researchers as “G1”, “G2” and “G3”, present us with the signature of the Orion belt stars asterism – again, Orion being the sky image and soul (sahu) of Osiris.
G1 reflects the first star Al-Nitak in the right side of Orion.
G2 reflects the second star Al-Nilam at the centre of Orion's body.
G3 reflects the third star Mintaka on the left side of Orion.
In the course of the 26,000-year Precessional Cycle, the constellation of Orion, and as it moves from East to West – crossing the Giza Meridian in the South sky – takes approx. 13,000 years to move from its highest position on the Giza Meridian at 58º 4', down to its lowest position on the Giza Meridian at 9º 14', and takes the same number of years to move back up again.
This slow up and down motion of Orion on the Giza Meridian is known as the 'Precessional Elevator'.
Bauval argues that the orientation of the three Giza Pyramids correlate with the orientation of the Orion belt stars at their lowest position on the Giza Meridian – c. 10,500 BCE – which would make this era the Alpha-Omega, end-beginning point of the Precessional Cycle.
In our book The Giza Prophecy (2012), my co-author Scott Creighton and I refined this date and pin-pointed the correlation to around 10,460 BCE, making the halfway point around 2500 CE.
Artwork: Copyright © Gary Osborn. 2010. All Rights Reserved
Figure 22: The Giza Pyramids-Orion Belt Stars Correlation (according to Robert Bauval's OCT “Orion Correlation Theory”) and the Precessional Cycle/up and down “Elevator” motion of Orion in the South Sky over the course of 26,000 years.
Artwork: Copyright © Gary Osborn. 2011. All Rights Reserved
Figure 23: The Giza Precessional Clock.
It may look as though we are moving away from the code in Poussin's Arcadian Shepherds painting.
However, as we will discover in this series of presentations, it appears that in his second painting of the Arcadian Shepherds, Poussin had also encoded these two points in the Precessional Cycle while at the same time expressing the fact that in ancient times Orion was used as a gauge marker as it crossed the Giza Meridian.
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 Typhon by the Greeks.
Typhon 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 (sahu) – 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.
As we will see later, the Arcadian paintings seem to be telling us as that the Great Pyramid was the tomb of Osiris – perhaps a real living person who was considered a god.
However, if true, then it’s indeed possible that the secret chamber not only contains, or once contained the remains of Osiris, but also important archives – the famed ‘Hall of Records’ as many have believed.
And if so, then it would seem that all this time that the bodily remains of Osiris has been laying somewhere inside the Great Pyramid, the sahu soul of Osiris is also seen to rise from the Underworld at the same place as the Sun in the East (rebirth) traverse the sky – only to then enter the Underworld again by setting in the West.
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 monadic, 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.
Following is a quote by Frank C. Higgins, again, a respected high-ranking Freemason:
“The Masonic feasts, the St John’s days, which are celebrated at the midsummer and midwinter solstices are relics of the old Roman ‘college,’ which celebrated the same dates in honour of the god Janus, keeper of the gates of the year.”
Ancient Freemasonry: An Introduction to Masonic Archeology by Frank C. Higgins (1919).
It’s clear then, that the two Johns are really a repetition of the Roman god Janus, the god of ‘gateways’ and ‘Time’ itself.
Janus personified the nature of duality and opposites which are present in every man and woman.
He represented both the past and the future and all beginnings and endings.
His name is given to our first month of January, and he is often depicted as a head with two faces looking in opposite directions – one face to the past and one face to the future; sometimes one is older and bearded and the other is younger and clean-shaven, or even female, known as Jana.
It is a curious thing that in many depictions of Janus, we find this ‘two-faced’ god holding a key at the angle of 23.5°.
This is particular evident in the images of Janus from Vincenzo Cartari’s Le Imagini de gli Dei (Images of the Gods, 1608) – a book that Nicolas Poussin used to carry around with him.
One can see the similarities between this image of Aker, whose two lions are flanking a Sun disk, and the Masonic image of the ‘two Johns’ flanking what is really the ancient Egyptian Sun Symbol and the hieroglyph for the RA Sun disk.
Like Janus and the Aker lions, John the Baptist, the ‘great initiator’ (also known as the ‘Forerunner’ or ‘Precursor’) and whose ministry came before Jesus, represents ‘yesterday,’ and John the Evangelist – a disciple of John the Baptist and afterwards a disciple of Jesus and who lived on after Jesus and wrote about Jesus in the Gospel of John – represents ‘tomorrow’.
Also we find that St. Mark described the voice of John the Baptist crying in the wilderness as like the roar of a lion – meaning that the lion is the symbol of the Baptist.
The symbol for John the Evangelist is the Eagle and later depictions present John the Evangelist as also a lion or unicorn and we find these two beasts – i.e., either two lions or a lion or eagle on family crests, coat of arms and emblems – flanking a centrally-placed shield or perhaps a jewelled crown or helmet, which in itself, symbolically depicts the head or skull.
We have also noted that the Masons associate the two Johns with the Summer and Winter Solstices – i.e., the rising and setting positions of the Sun when it reaches the Tropics as a result of the present obliquity angle of the Earth at 23.5°, which is why Janus/Jana (Two Johns) are shown holding a key at 23.5° – revealing that all these mythical and religious elements are also astrotheological in nature, in that the triad of the ‘two’ and the ‘one’ or ‘third’ and which relates to human consciousness, was also recognised in the cycles relating to the Sun, due to the orbital dynamics of the Earth, as well as other celestial phenomena.
And it's from here that we can perhaps uncover more of the mystery of the skull . . .
Again, the head or skull, which appears on the tomb in Poussin's Arcadian Shepherds painting, is very much a part of this mystery.
Earlier I concluded that the skull belongs to Osiris.
The head of Osiris was also seen as ‘all-powerful’ and was said to have been preserved in the temple at Abydos.
Apparently, and like the heads of many other gods, the head of Osiris served as an oracle, providing detailed knowledge of the after-world.
The Templars, who revered John the Baptist, also possessed a carved head reliquary they believed was all-powerful, known as Baphomet.
It’s possible this carved head represented the head of John the Baptist (it has also been said that the head belonged to Simon Magus), but whether it was used as an oracle or not, we will never know.
A direct translation of 'Baphomet' is that it is possibly a compound of the words baphe (baptism) and metis (wisdom.)
Worship of this carved head is mentioned in the descriptive accounts of the heresies which were aimed at the Templars when they were rounded-up and arrested in 1307 on the orders of King Philip IV of France – who with Pope Clement V, (also complicit in this conspiracy) – sought to bring an end to the Templars who were becoming too powerful . . . and most importantly he owed them money.
Under pressure from Phillip, the Pope disbanded the Order in 1312, but this wasn’t the end of the Templars as their knowledge was preserved as always, passed on from generation to generation by the initiates of this ancient wisdom and knowledge who have always been active throughout history.
In any case, going by all accounts, the Baphomet head was most likely a composite of the Two Saint Johns of the Christian Gospels: John the Baptist (bathe = baptism) who is bearded, (‘masculine principle,’) and John the Evangelist, (metis = ‘wisdom’) who is depicted as clean-shaven and effeminate (feminine principle).
Wisdom has always been associated with the archetypal goddess – for example, Sophia, Isis, Diana and numerous others – including Mary Magdalene who also fitted this role in an ancient drama that was largely re-enacted in the Christian Gospels which was Gnostic in origin.
Despite their apparent allegiance to the Christian Church which officially endorsed the Order in 1129 as their military arm during the Crusades, the Templars were the self-appointed preservers of the ancient spiritual knowledge and wisdom they had learned from the different cultures they had engaged with during their travels to the East and other parts of the world; things that went far beyond the superficial beliefs and corrupted rituals of the Church and right to the source of the mysteries.
Now, the head the Templars possessed has been described as having two faces back to back, which brings us again to the Roman god Janus/Jana.
It has also been said that the head had three heads or faces.
This is interesting because all we tend to see are the dual aspects of Janus.
However, like the third Masonic pillar, the head really has a ‘third face’ which is often hidden.
The triadic aspect of the god Janus is commented on by writer Alice Ouzounian:
Figure 29: The god Aker as two lions facing in opposite directions.
This vignette is from the Ancient Egyptian Papyrus of Ani. (Now in the British Museum). Note also the Akhet (Horizon) hieroglyph between them. Here the Sun disk is said to be positioned between two mountain peaks that create the letter 'M'. The twin peaks are really the bent and open legs of the shamanic 'world mother' giving birth to the Sun god every morning in the Daily Cycle.
Figure 28: Left: The god Janus holding the key at 23.5°. Source: The Delphian Society The World’s Progress, Part III (Hammond: W. B. Conkey Company, 1913). Right: Janus from Vincenzo Cartari’s Le Imagini de gli Dei (1608). The key is again at 23.5 degrees. If we extend the line downwards we note that it pinpoints the alpha-omega point where the Ouroboros snake is biting its own tail. Also note that the outstretched arms of the Janus figure on the right are at the angle of 23.5 degrees perpendicular.
On the left hand are the Roman numerals CCC = 300, and on the right hand are the Roman numerals LXV = 65 - together making the days of the year – 365.
We also see the rising Sun and the setting Sun associated with the Solstices.
“The symbolic image of Janus/Jana is androgynous, since the masculine and feminine energies and qualities are in complete balance and harmony and their respective attributes makes the head of Janus/Jana crowned. This shows us that their dual nature unites at the mind level and becomes one complete new being.
“The crown that harmonizes and unites them after their “mystical wedding” gives rise to the third face, which remains invisible and represents the crowning of the great work, the androgynous level of consciousness where God incarnates in the seeker. Thus, the seeker knows in all humility that he is a Son of God. For this reason, the crown is a solar symbol and, therefore, the two streams of the Moon within the seeker blend, and from a level of duality, they unite with the Sun symbol of the Father and God. The alchemical symbol of the rebis reminds us of the same principle hidden behind the cartouche of Janus/Jana.
“Whenever the symbolism of Janus relates to time, between the past (which is no longer) and the future (which is not yet), the true Face of Janus – that which looks at the present and is supposed to face us – is not shown; it is neither one nor the other of the two we can see. This third face is, in fact, invisible because the present in its temporal manifestation is but an intangible and imperceptible instant”.
The Mystery of Janus the God of Gateways. © Alice Ouzounian.
To the initiate, this hidden “third” (the ‘holy ghost’) which we do not see, is viewed to be a reflection of the limitations imposed on our senses during our incarnation on Earth; it reflects our failure to see the truth of our condition and our failure to go beyond the veil of illusion associated with all duality and polarity – the opposites – that result from the necessary interface we have with both the physical and psychical worlds and within which our consciousness has become centrally enmeshed but also divided.
The hidden third face represents the Present, the ‘Eternal NOW’ in which we always live our lives, but often fail to experience or capture satisfactorily and mostly because we have our minds on either the past or the future.
In terms of cycles, and cyclic phenomena, which is what this is all leading to, this ‘third force’ and like the Present, is as Alice says, a “temporal manifestation and is an intangible and imperceptible instant”.
There are of course moments in our lives when we do experience it, such as when we are doing something totally refreshing, different and out of the ordinary, or in a dangerous situation, which for our own survival will revivify the senses; forcing all our attention on the present moment.
However, going back to the Janus head, there are indeed some ancient godhead sculptures that do show a third face – two faces back to back with a third placed centrally like the Tricephallic Head of the Celtic god Bran.
In Hinduism, the divine triad, or trinity is a three-headed deity – Brahma the Creator, with partners Vishnu the Preserver and Siva (Shiva) the Destroyer.
The ancient Druids held beliefs in a holy triad – Beli, Taran and Esu or Yesu the coming saviour.
Again these are much the same as we find in Hindu, Jainist, Buddhist and Christian beliefs.
It would appear that in their enthusiasm to communicate the wisdom and knowledge concealed within the Triad, the ancients had immersed themselves in a confusing series of triads, associated not only with a triad of gods and goddesses, as we see above with the Hindu triad and the ancient Egyptian triad, but also making each single god and goddess a personification of the triad – conveying the idea that we each have these same three-forces within us and within our own psyche.
For example, the mother of Janus was the Greco-Roman goddess Hecate, and like many other female deities embodied a ‘triadic nature’ as the “triple goddess” or “three-fold goddess” – consisting of the “maiden”, “mother” and “crone” – and each associated with the three phases of the Moon and the three phases of all cycles in general.
She is also associated with the “Three Fates” who begin, measure and end the life cycles of all individuals on Earth.
Like Janus, Hecate is also associated with ‘doorways’, ‘gateways’, as well as the “three-way” crossroads.
She is also the goddess of magic and witchcraft and is even worshipped today by neopagans and Wiccans . . . and she is also depicted holding a key.
Incidentally, we discover that the keys of the pagan deities Janus and Hecate are the same two keys that were “passed” to St. Peter and which the Pope now has emblazoned on his Arms as the symbol of his spiritual authority.
The keys of St. Peter are often crossed like an ‘X’ – reminding us of the Chi-Rho symbol as well as the Crook and Flail of Osiris which are crossed over his chest.
My view is that one of the Gnostic messages being conveyed to the viewer of the Arcadian paintings, and from one initiate to another, is that the Holy Grail is the head of the 'enlightened one' (the Godhead) who is above and beyond all Duality; who in death has passed consciously through the 'gateway' between the opposites, and has come off the endless cycle of life-death-rebirth.
He is 'Everyman' and sets an example for us all, in that each of us has the potential to reach the same enlightened state - to become as God.
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 Christ, 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 Christ with Horus.
All three members of this Triad symbolise 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 Christ, 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.