PILLAR 43 (cont’d)
This where things start to get really challenging.
We have a possible outline handle on a theoretic meaning behind the Chevrons, the Handbags, the three Creatures when all combined, but what of element 6, the final part of the jigsaw of Unit 1?
X 11 small, roughly rectangular shaped boxes strung out on a line.
I’ve referred to this previously and a connection it might have to a much older symbolic artifact from the far north whereby the Chevrons and ‘Boxes’ seem to have once been held to be in harmonious relationship. If this is correct, then
the insertion of x3 handbags (with x 3 signature creatures) into this motif represents some form of change in dynamic, whether in understanding or by result of a change in perceived reality itself, or both. And why would we now have
specifically x11 boxes depicted, no less, no more?
Having previously and somewhat over confidently stated that geometric and mathematical issues are not at stake here, I cannot help but be struck by the fact that the number
3 and the number
11 are so starkly present here. And of course, using the x2 sets of 3 and the 11 one can make…
33! Twice! Help!
We can either ignore this as being purely coincidental or we can run with it. Well, I’m going to run with it because the design surely intends the observer to do so as we will get on to shortly.
But first, I think this is at last a good time to revisit the C’s:
Session 11 November 1995
Q: (L) … Now, the main thing I wanted to ask about is the references I come across in tons of reading, that the number 33 is somehow significant. Could you tell us the significance, in esoteric terms, or in terms of secret societies, of the number 33. There is the cipher of Roger Bacon, based on the number 33, the 33rd degree masons...
A: As usual, we do not just give you the answers, we help you to teach yourself!! Now, take 11 and contemplate...
Q: (L) Well, three times eleven is thirty-three.
A: Yes, but what about 11?
Q: (L) Well, eleven is supposed to be one of the prime, or divine power numbers. In Kaballah, 11 is the power number...
A: Yes...
Q: (L) Eleven is 10 plus 1; it is divisible only by itself and by 1. I can't think of anything else. I am an 11 in numerology... I am also a 22. What else is there to the number 11?
A: Astrology.
Q: (L) Well, in astrology, the eleventh sign is Aquarius, my name is an eleven, my birthday is a 22 which is twice eleven, and I am an Aquarian. The eleventh house is friends, hopes, dreams and wishes, and also adopted children. Aquarius the Waterbearer, the dispenser of knowledge. Does 11 have something to do with dispensing of knowledge?
A: Now, 3rd house.
Q: (L) Gemini. Okay. Gemini and Aquarius. Third house is how the mind works, communication, relations with neighbors and siblings, education, local travel, how one speaks. Gemini is known as the "consummate man." Somewhat shallow and interested in the things of material life. It is also the divine number of creation. So, what's the connection here?
A: Matrix.
Q: (L) Is there something about this in the Matrix material?
A: No.
Q: (L) This IS a matrix. The third house and the eleventh house create a matrix?
A: Foundation.
Q: (L) In terms of cosmic things, Gemini is in June, Aquarius is in February... (S) Isn't the third house also about teaching? And, we are friends here and we are being taught...
A: This is not about you.
Q: (L) Okay. This is not about us. I am just trying to relate it. Gemini is in June, Aquarius is in February. Gemini is the physical man, and Aquarius is the spiritual man?
A: Yin Yang.
Q: (L) So Gemini is the physical man and Aquarius is the spiritual man... yin yang... is that the...
A: Yes...
Q: (L) So 33 could represent the transformation of the physical man to the divine man through the action of secret or hidden teachings... and those who have gone through this process represent themselves with the number 33, which means that they started out oriented to the flesh and then became...
A: Medusa 11.
Q: (L) Medusa 11? What does Medusa have to do with it? (S) What about spinning 33 times? (L) Please tell me how Medusa relates here?
A: Heads.
Q: (L) Heads. Medusa. 11. Were there eleven snakes on the head of Medusa or eleven heads? This is really obscure... you need to help me out here.
A: We are.
Q: (L) Do I need to read the Medusa legend to understand?
A: No.
Q: (L) Medusa. Heads. 11. Is there something about the mythical Medusa that we need to see here?
A: 11 squared divided by phi.
Q: (L) By pi. 11 squared divided by pi. What does this result bring us to?
[Laura's note: Above, I assumed that the Cs meant ‘pi' no ‘phi' since I really wasn't all that familiar with phi as a mathematical idea so this is the point where things get frustrating. I'm operating on wrong assumptions.]
A: 33.infinity.
Q: (L) Well, we don't get 33 out of this... we get 3.3166 etc if we divide the square root of 11 by pi. Divided by phi... what in the heck is phi? Okay, if we divide pi into 11, we get 3.5 infinity, but not 33.
A: 1 times 1
Q: (L) Oh. You weren't saying 11 times 11, you were saying 1 times 1.
A: No.
Q: (L) 1 times 1 is what? 1.
A: 5 minus 3.
Q: (L) Okay, that's 2.
A: 2 minus 1.
Q: (L) Okay, that's 1. I don't get it. A math genius I am NOT. What is the concept here?
A: Look: 3 5 3 5 3 5.
Q: (L) What is the 3 5 sequence?
A: 5 minus 3.
Q: (L) Okay, we have strange math. But, you can do anything with numbers because they correspond to the universe at deep levels...
A: Is code.
Q: (L) What does this code relate to? Is it letters or some written work?
A: Infinite power.
[Laura's note: It is obvious now that the Cs were talking about a phi spiral, Fibonacci Sequence, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, etc., Golden Ratio: The ratio between two consecutive numbers in the Fibonacci Series tends to the Golden Number Φ: 0.618… or 1.618; The ratio of each successive pair of numbers in the sequence approximates phi (1.618. . .), as 5 divided by 3 is 1.666…, and 8 divided by 5 is 1.60. but I was ignorant of all that at the time. Poor Cs were SOO frustrated I think.]
Q: (L) How is infinite power acquired by knowing this code? If you don't know the correspondences, how can you use a numerical code?
A: Lord of Serpent promises its followers infinite power, which they must seek infinite knowledge to gain, for which they pledge allegiance infinitely, for which they possess for all eternity, so long as they find infinite wisdom, for which they search for all infinity.
Q: (L) Well, that is a round robin... a circle you can't get out of!
A: And therein you have the deception! Remember, those who seek to serve self with supreme power, are doomed only to serve others who seek to serve self, and can only see that which they want to see.
Q: (L) The thought that occurs to me, as we are talking here, is that the STS pathway consists of an individual who wants to serve themselves - they are selfish and egocentric -they want to impel others to serve them; they want to enslave others; and they find ways to manipulate others to serve them. But, they end up being impelled by some higher being than they are. Because they have been tricked into believing that by so doing, they are actually drawing power to themselves through the teachings, including the popular religions which promote being "saved" by simply believing and giving up your power. And, then, you have a whole pyramid of people TAKING by trickery and deception, from others. The taker gets taken from in the end. A pyramid where all those on the bottom, the majority, have no one to take from, so they get absorbed into the next level higher, until you get to the apex and everything disappears. In the STO mode, you have those who only give. And, if they are involved with other STO persons, everyone has and no one is at the bottom or at the top, in a void. In the end, it seems like everyone ends up serving someone else anyway, and the principle is the INTENT. But in STO, it is more like a circle, a balance, no one is left without.
A: Balance, yin-yang.
Q: (L) Obviously the 33 represents the Serpent, the Medusa, and so forth...
A: You mentioned pyramid, interesting... And what is the geometric one-dimensional figure that corresponds?
Q: (L) Well, the triangle. And, if you have a triangle point up you have 3, joined to a triangle pointing down, you have 3, you have a 33. Is that something like what we are getting at here?
A: Yes.
Q: (L) Is there a connection between the number 33 and the Great Pyramid in Egypt?
A: Yes.
Q: (L) And what is that connection? Is it that the builders of the pyramid participated in this secret society activity?
A: Yes. And what symbol did you see in "Matrix," for Serpents and Grays?
Q: (L) You are talking about the triangle with the Serpent's head in it?
A: Yes.
Q: (L) Are we talking in terms of this 33 relating to a group of "aliens," or a group of humans with advanced knowledge and abilities?
A: Either/or.
Q: (L) Is this what has been referred to in the Bramley book [Gods of Eden] as the Brotherhood of the Serpent or Snake?
A: Yes.
Q: (L) Is this also what you have referred to as the Quorum?
A: Close.
Q: (L) So, we have a bunch of people who are playing with mathematics, and playing with higher knowledge, basically as a keep busy activity to distract them at the human level from the fact that they are being manipulated at a higher level. Is this what is going on? Or, do they consciously know what they are doing? Is it a distraction or a conscious choice?
A: Both.
Q: (L) If I were to name some names, could you identify if named individuals were involved in this secret group?
A: It would not be in your best interests.
Q: (L) Is there anything more on this 33 number that I should look at now?
A: No. You need to contemplate.
Oh boy, contemplate indeed!! I suspect we will also be coming back to the
353535 code before too long!
The next thing that strikes me is:
- Are the x11 boxes representative of a distinct alternate meaning to those of the x3 handbags and their x 3 creatures?
- Or are the x3 handbags actually the equivalent of three of these boxes blown up in size because of some particular factor that is represented by their number and/or unified identity that is made clear by the presence of the x 3 creatures?
There is no way at present of answering that with any degree of certainty but for now on pure instinct alone I’m going to run with the second thought and see where it takes us.
One reason (if I can call it that) driving this instinct is that the rectangular shape is such a dramatically new and different visual ‘concept’ for the Pillars in Enclosure D that for them not to be thematically closely linked feels off. And do I also detect an almost ‘thought bubble’ sense about them, induced by their being even more forward and raised than the rest of the unit, that almost makes them jump out at you in a heightened parallel relationship to the x 11 below? Anyway, that’s the path I’m treading going forward to see if it pays further dividends.
UNITS 2-5
I was planning on dealing with each remaining unit separately but I think we will need to keep all the last sets of figures in constant mind from now on as the possible relationship pictures start to pile up.
Having previously covered Unit 1 to the level we have, let’s consider unit 2.
Directly above the Fox with a form of an Oroboros snake hovering over its head, we now meet the famous Vulture, apparently one adept at playing volleyball!
Obviously, this is not just any old vulture…
(left) Eurasian Griffin Vulture (right) Cinereous or Black vulture
The long, elongated neck and lack of head plumage is suggestive that the model for this design was based on either the Eurasian Griffin Vulture or the Cinereous/Black vulture, both of which are still found throughout Anatolia today.
The Cinerous gets my vote because it is the larger of the two, its uniformly dark colouring gives it a more sinister 'undertaker' air, and it is also more of a loner, making it less utilitarian and more rarefied. It also has rather suggestive neck ruffles which may be what we are seeing depicted on our pillar representation. There is also, dare I say it, an anthropomorphic sense off the bird, and almost ‘Man in Black’ quality about it, as if it itself is wearing a disguise or costume.
Whilst certain key power animals have previously been found depicted in stone prior to their use at Göbekli Tepe (e.g the Bull, the Lion, the Boar, the Fox, the Snake), along with the Ram I believe the Vulture’s emergence as a crucial symbol at this time and place was a direct product of the changes in ideology taking place at and around this site. Yes, birds have appeared previously and crucially, including on the Lascaux cave fresco etc, but the specifics of the vulture transcends and changes the prior iconography of the generic ‘bird’ and brings into being something new and very particular.
By way of example, let us for a while move forward in time, first by circa 3,000 years to the early Neolithic Anatolian site of Çatal Höyük (circa 7,100-5,700 B.C). This is how Mary Settegast in her landmark work,
PLATO PREHISTORIAN - 10,000 to 5,000 B.C. in Myth and Archaeology, introduces us to its remarkable finds:
The huge settlement at Çatal Höyük was spread over thirty-two acres of the Konya plain of central Anatolia, accommodating perhaps five to seven thousand persons at peak levels… the wealth of material recovered… in the words of one archaeologist, "astonished the world." The many wall paintings and relief constructions, the excellent textiles, the polished obsidian mirrors and jewellery, the elaborate burial arrangements - all suggest a luxurious standard of living that fit no one's expectations for a Neolithic community.
This is not the place to go into all the many outlandish representations at Çatal Höyük of bulls, rams, boars, big cats, etc, etc, that adorn multiple sacred, cave like inner ‘special purpose’ rooms. For now we will focus on a particular set of finds concerning depictions of vultures. Again from Mary Settegast:
…Only the east wall of Shrine VIIl.8 survived, but it provides us with the earliest narrative painting recovered at Çatal Höyük. As shown (below), two large black vultures have been portrayed facing one another across two small human figures. One of these figures… swings a black sling and brandishes what may have been a club or a mace. The figure beside him lies on its left side in the flexed position common to many Çatal burials; the absence of a head identifies it as dead or otherworldly by this site's artistic conventions.
… Later murals show headless human forms under attack by vultures, and Mellaart believes that these scavenger birds may have been among the agents of excarnation for the secondary burials at this site. He accordingly suggested that the man with the sling and mace may have been protecting a corpse from attack by the two vultures. But if excarnation by vultures was a traditional preliminary to burial at Çatal Höyük, one wonders why this living figure would be interfering with accepted practice.
Earliest paintings on the north and east walls of the Vulture Shrine, VII.8.
Closer view of panels from Vulture Shrine, VII.8.
x6 Headless figures… arms raised in our by now familiar gesture… depicted in the sitting position associated with the throne of the mountain…
x7 Giant Vultures … with strange internal, womb like features (cometary by any chance?)
And what about the previous image? Two vultures pinning a headless sitting figure (but now with down turned arms), who appears to be being defended from the vultures onslaught by another familiar figure with upturned arms and distinctively matching splayed legs, swinging what is thought to be a ‘sling’ and a ‘mace’…
Then there are these drawings taken from a badly damaged wall fresco:
Whatever the case about these being representations of actual excarnation towers, (for which no direct evidence of use at this time has been found), I prefer to see resonant symbolic representations of familiar items from the distant past – pillar like towers upon the top of which we find either a head or a headless figure in a very distinctive form, both of which are shown in close proximity to an upwards curving crescent…. Not to mention stairways to heaven….
Later on in her chapter on Çatal Höyük, Mary Settegast has further to say regarding the vulture:
Egyptian Vultures
Vulture and bull were also linked in Egypt, however, and it may be that some part of what we have interpreted as proto-Mithraic traditions at Çatal Höyük was African instead. The Apis Bull of Memphis, for example, was often portrayed in Egyptian art with vultures over the fore and hind legs. The vulture itself was particularly associated with Upper Egypt, where it served as the emblem of the south from earliest dynastic times
The vulture goddess Nekhebit was both guardian of Upper Egypt and tutelary deity of Hierankopolis, and although she appeared in later art in the form of a woman with a vulture head or headdress, in the archaic period she was always portrayed simply as a vulture.
Nekhebit was also considered the mother of the Pharaoh (the Egyptian letters mwt may be read as either "mother" or "vulture") and was often shown in the mortuary temples of the Old Kingdom nursing the king after his rebirth. The "two pendulous breasts" with which she suckled him are mentioned in the Pyramid Texts, and one wonders if a similar idea might have inspired the modelling of a woman's breasts in plaster on the wall of a Level VI shrine at Çatal Höyük, each of which contained the complete skull of a vulture, its beak protruding slightly from the open nipple.
It is worthy of note that both the Vulture and Serpent were so central to Egypt’s ritual pantheon – and
both in the form of a goddess.
The Two Ladies – Nekhbet and Wadjet
The god Nefertem, son of the creator god Ptah, sitting on his lotus flower between the Ladies of the Two Lands - Wadjet and Nekhbet. Temple of Dendera, Roman period.
The Two Ladies or separately the goddesses Nekhbet and Wadjet are the chief divine protectors of the king and represented the Upper and Lower domains of Egypt.
The vulture Goddess Nekhbet was, from at least the Old Kingdom, associated with the White Crown of Upper Egypt and in this role also became a mythological mother of the king. Nekhbet can be represented as a woman wearing a vulture cap. However, more often than not she is shown as a vulture, either standing or in profile view, or with wings outstretched in direct view. In addition to being shown in full vulture form she is also shown carrying the circular ‘shen’ or eternity hieroglyph within her talons. Within scenes she is often shown in the corners, watching over in this protective form.
The goddess Wadjet on the other hand is represented by a cobra and associated with the Red Crown of Lower Egypt. Most commonly she is represented in the form of an erect cobra hood extended ready to strike. Her name means ‘the green one’ …While Nekhbet is shown hovering by the king, Wadjet is often represented on the forehead as the uraeus that protected the king. Later texts refer to her as the ‘mistress of fear’, as mythologically the royal serpent spat flames in defence of the king.
The Two ladies title was also used when referring to the queens of Egypt. From the Middle Kingdom it was common for the queen to have amongst her epithets titles that reflected her joining the king in this role of unification.
…
Alongside this titular connection, like the king, queens of Egypt also connected themselves to the Two Ladies in their royal regalia. Among the most important insignia was the vulture headdress and the uraeus. Later on, the vulture headdress became a symbol of motherhood par excellence and from the 6th Dynasty the king’s wives, being prospective royal mothers, also began to wear the vulture headdress and the uraeus.
Vulture In myth and culture
Ancient Egyptians believed that all vultures were female and were spontaneously born from eggs without the intervention of a male, and therefore linked the birds to purity and motherhood, but also the eternal cycle of death and rebirth for their ability to transform the “death” they feed on – i.e. carrion and waste – into life.
VULTURES IN HINDU MYTHOLOGY - Dr. M. Madhumathi
In Hindu mythology, Sakuni (Vulture), is considered as a Mother Goddess with a terrible appearance.
The Vulture is the vehicle of Saturn (Sani).
In the ancient time, the Sun lived close to the Earth, because of the strong sunrays, there is a decline in the population on the Planet Earth. So, it became necessary to find a solution to save the Planet. The Fox… and Vulture volunteered to rescue the Planet Earth. The Fox thought to hold the Sun in its mouth and started running towards heaven. The heat was so strong inside its mouth it started to burn. …It was now the turn of Visionary Vulture, to save Planet Earth. The Vulture, with the strength of its wings and push of its head started the act of taking the Sun towards heaven. … Vulture flew with all its strength and pushed the Sun up and up in the Heaven. … Now, the Sun was at the safest distance and peace on the planet was restored. The Strength and will of the Vulture, converted Sun from a destroyer to the healer of animal kingdom until eternity.
Returning to our depiction on Pillar 43 of this renowned undertaker, elite midwife and cleaner up of the dead, we note it:
- Wears about its neck the ‘V’ chevron/sign that we have come to see as a highly significant sign of STS power and authority.
- That its belly is swollen – perhaps by way of pregnancy?
- That its wings are crooked and curved upwards in a very singular manner (not a gesture that can be imitated by vultures in nature) rather like, dare I say it, a set of Bull’s horns…?
- And most importantly, it seems to be directing its eye and tending to a plain orb, balanced precariously over the end of its outstretched wing.
I am pretty sure this is intended to be taken as
a female image. It has often been said - as I have here previously – that it is most striking how all the power animals, indeed the entire world at Göbekli Tepe, appears to be uniformly male dominated. This is overtly true, but I have come to think differently in that I am now pretty much convinced the female essence is ever present, but covertly disguised, by way of
the multiple style symbol of the bird.
Of course on a symbolic level when we say ‘male’ or ‘female’ we are talking about essence – the universe expressing its unity by way of the binary nature of male and female as two distinct aspects of its singularity. As I covered previously, the great singular god was recognized as being both male and female in perfect balance, even when expressed iconographically as male. Throughout history and myth the bird has nearly always been seen as a representation of the ‘female’ side of the universe – its very soul in fact, its
deepest procreative consciousness – as in Love. I think this is actually what we are seeing on the wall fresco at Lascaux, the prone man and the bird on a pillar are part of the same entity (along with the bull), but she (the bird) cannot ever fall.
And here we are on Pillar 43 with a fallen male figure (headless) but with the mother bird beside him, still ever living (and don’t we all know the term ‘Mother Goose’?), her staring eye fixed upon us. She is eternal – he is transient.
And where has his head gone? Back home, to his mother’s arms of course.
Martin Sweatman concludes this orb is our Sun. Another ‘no chance’ Martin, I’m afraid, but again he is closer than he realized.
For this is the original ‘sun’, the orb between the bull’s horns, the great Torus of divine antiquity, the head/egg of the Golden Age.
We are witnessing here a profound change in ideology and myth – for the Mother it goes back to is no goose – but to the control and say so of a vulture, and henceforth Death will never be the same again as the 353535 code takes over the ‘business’ of life and, in particular, death.
