Thanks. I can see where you were coming from now.
Alton Towers, Sir Francis Bacon and the Rosicrucians
- Thread starter MJF
- Start date
Yes, I tend to agree with what you are saying. However, eradicating all worship of Baal among the Israelites proved very difficult as some form of Baal worship survived within Israel for centuries after Abraham/Moses - as shown in the story of Jezebel. Maybe the worship of Baal is still with us even today if the statue of a forty foot owl at Bohemian Grove is anything to go by, ie., if Moloch can be linked to Baal, as some commentators think (there are a number of goddesses associated with the owl too, such as Minerva and Athena).
moyal
Jedi Master
The big thing that runs through the entire corpus of books by Kenneth Grant is - that SETH is the Original God.
Seth has no father, only a mother.
It was the god of the matriarchal primal religions, which were star cults in the "Aeon of Isis".
(going back to a time when the role of man in procreation was unknown - and then for a time only the knowledge of women).
Think it as 'evolution' : "monkey"-horde ->time -> human civilization
With the advent of the patriarchal monotheistic solar religions, he was banished to the desert (outside civilization) as "the Adversary".
Seth has no father, only a mother.
It was the god of the matriarchal primal religions, which were star cults in the "Aeon of Isis".
(going back to a time when the role of man in procreation was unknown - and then for a time only the knowledge of women).
Think it as 'evolution' : "monkey"-horde ->time -> human civilization
With the advent of the patriarchal monotheistic solar religions, he was banished to the desert (outside civilization) as "the Adversary".
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moyal
Jedi Master
That is quite an interesting take on the subject. Also we know that Seth in the Bible is the third son of Adam and Eve, born after Cain had killed his brother Abel.
Seth or Set
In Egypt Seth (Set), son of Geb (Earth) and Nut (sky), was the brother of Osiris and god of the desert, foreign lands, thunderstorms, eclipses, and earthquakes. Seth was a powerful and often frightening deity, however he was also a patron god of the pharaohs, particularly Ramses the Great. They believed he lived in the realm of the blessed dead. Seth was a god the Egyptians prayed to so he would help their dead family members. His wife was the goddess Nephthys who was associated with mourning, the night/darkness, service (specifically in temples), childbirth, the dead, protection, magic, health, embalming, and beer. After a time, the priests of Horus came into conflict with Seth's adherents. ... Seth became the god of the unclean and an opponent of several gods. This would suggest the Egyptians saw Seth as an unclean, adversarial, desert god long before the time of Abraham. It is interesting that the Phoenician god Baal was viewed as a storm god too as was Marduk the sumerian god.
Seth or Set
In Egypt Seth (Set), son of Geb (Earth) and Nut (sky), was the brother of Osiris and god of the desert, foreign lands, thunderstorms, eclipses, and earthquakes. Seth was a powerful and often frightening deity, however he was also a patron god of the pharaohs, particularly Ramses the Great. They believed he lived in the realm of the blessed dead. Seth was a god the Egyptians prayed to so he would help their dead family members. His wife was the goddess Nephthys who was associated with mourning, the night/darkness, service (specifically in temples), childbirth, the dead, protection, magic, health, embalming, and beer. After a time, the priests of Horus came into conflict with Seth's adherents. ... Seth became the god of the unclean and an opponent of several gods. This would suggest the Egyptians saw Seth as an unclean, adversarial, desert god long before the time of Abraham. It is interesting that the Phoenician god Baal was viewed as a storm god too as was Marduk the sumerian god.
The Ennead - The nine gods who were worshipped at Heliopolis formed the tribunal in the Osiris Myth: Atum, Shu, Tefnut, Geb, Nut, Osiris, Isis, Nephthys, and Set. These nine gods decide whether Set or Horus should rule in the story The Contendings of Horus and Set. They were known as The Great Ennead.
Inanna
Isis was, of course, an Egyptian goddess but she probably derives from the Akkadian, Babylonian and Assyrian Ishtar and the earlier Sumerian Inanna, the goddess of love, beauty, sex, war, justice and political power. Inanna was known as the "Queen of Heaven" and was associated with the planet Venus (which curiously is where Ra the spokesman for the Law of One was supposedly based, who used to sign off by saying "in love of Adonae").
Inanna was worshiped in Sumer at least as early as the Uruk period (c. 4000 BC – c. 3100 BC), but she had little cult before the conquest of Sargon of Akkad. During the post-Sargonic era, she became one of the most widely venerated deities in the Sumerian pantheon, with temples across Mesopotamia. The cult of Inanna/Ishtar was continued by the East Semitic- speaking people (Akkadians, Assyrians and Babylonians) who succeeded and absorbed the Sumerians in the region. She was especially beloved by the Assyrians, who elevated her to become the highest deity in their pantheon, ranking above their own national god Ashur. Inanna/Ishtar is alluded to in the Bible and she greatly influenced the Phoenician goddess Astoreth, who later influenced the development of the Greek goddess Aphrodite and Athena can also be linked to her as well. Her Roman equivalent was Venus or Minerva.
Isis was, of course, an Egyptian goddess but she probably derives from the Akkadian, Babylonian and Assyrian Ishtar and the earlier Sumerian Inanna, the goddess of love, beauty, sex, war, justice and political power. Inanna was known as the "Queen of Heaven" and was associated with the planet Venus (which curiously is where Ra the spokesman for the Law of One was supposedly based, who used to sign off by saying "in love of Adonae").
Inanna was worshiped in Sumer at least as early as the Uruk period (c. 4000 BC – c. 3100 BC), but she had little cult before the conquest of Sargon of Akkad. During the post-Sargonic era, she became one of the most widely venerated deities in the Sumerian pantheon, with temples across Mesopotamia. The cult of Inanna/Ishtar was continued by the East Semitic- speaking people (Akkadians, Assyrians and Babylonians) who succeeded and absorbed the Sumerians in the region. She was especially beloved by the Assyrians, who elevated her to become the highest deity in their pantheon, ranking above their own national god Ashur. Inanna/Ishtar is alluded to in the Bible and she greatly influenced the Phoenician goddess Astoreth, who later influenced the development of the Greek goddess Aphrodite and Athena can also be linked to her as well. Her Roman equivalent was Venus or Minerva.
Inanna-Ishtar, Isis, Mary Magdalene: Recovering the Lineage of the Lost Goddess and Other Stolen Stories
By Dr. Joanna KujawaIt is almost as if Mary Magdalene, throughout the ages, has become a focal point for lost goddesses and their presence in our lives. Despite the tragic and untrue confusion about her status as a prostitute, there is a link in this to ancient, sexual ceremonies of sacred marriage.
The stories of the resurrection of the young king in the presence of a Goddess (which seemed so uniquely Magdalene) have been previously recounted ages ago in Ancient Sumer, Babylon and Egypt, with a Goddess as a resurrectrix. And they all seem to lead to the Sumerian Goddess Inanna, also known as Ishtar (in Assyria) and Isis (in Egypt).
These stories were perpetuated for centuries, and eventually reused in the Bible. By reused, I mean that much older versions of the same storylines were included in the Bible, but without the female component which had featured in a prominent way in original versions.
The stories of the resurrection of the young king in the presence of a Goddess (which seemed so uniquely Magdalene) have been previously recounted ages ago in Ancient Sumer, Babylon and Egypt, with a Goddess as a resurrectrix. And they all seem to lead to the Sumerian Goddess Inanna, also known as Ishtar (in Assyria) and Isis (in Egypt).
These stories were perpetuated for centuries, and eventually reused in the Bible. By reused, I mean that much older versions of the same storylines were included in the Bible, but without the female component which had featured in a prominent way in original versions.
The story of Inanna the Sumerian goddess is at least 4300 years old, and is mostly known not only through archaeological discoveries but also in a far more sophisticated way: through the poetic hymns of Inanna’s High Priestess, Enheduanna, the daughter of King Sargon of Sumer.
But who was the Goddess Inanna?
According to Sumerian stories, Inanna was the daughter of the gods An and Enki. She was a goddess connected to the Tree of life and the resurrection stories, several hundreds of years before the Biblical Genesis was written. For comparison, Enheduanna’s hymns to Inanna were written at least 500 years before Abraham was born, and the worship of this goddess can be dated back to at least 3500 BCE.
Betty De Shong Meador, the author of Inanna, Lady of Largest Heart : Poems of the Sumerian High Priestess, found that both the imaginative Van Dijk and mainstream scholars such as Simo Parpola connect the origins of the Tree of life to Inanna.
In mythical tales and sculptures, Inanna is often portrayed with a reed post, which is interpreted as a symbol of the ultimate point of orientation connecting heaven and earth. This image implies a very positive spiritual interpretation of the unification of the earthly and the spiritual through the Goddess, and mentions no sin or punishment.
For the Sumerians, as a Goddess, Inanna was a unifying force between all deities, a force which cancelled out the debate between monotheism and polytheism. She was All, both the curse and the blessing as the translator of Enheduanna’s Hymns to Inanna, Meador claims. And she is the divine matter from which all life has sprung, which also makes her the Divine Mother, and she was worshipped as such.
And being All, she was both light and darkness, and quite capable of mischief. It was she who stole the Me – the Sumerian tables of Law and civilization from Enki, according to Joy F. Reichard in Celebrate the Divine Feminine: Reclaim Your Power with Ancient Goddess Wisdom. This story is very similar to the Biblical version of Jacob stealing the blessing from his brother, except that, again, this version happened much earlier.
Other researchers, such as Reichard, say that Inanna was often depicted with lions at her feet to represent her power, which brings to mind the Hindu Goddess Durga.
Inanna has had many incarnations and represented several archetypes apart from the Divine Mother (associated with fertility). She was also the Warrior Goddess (like the Greek Athena) or the Lover Goddess not ashamed to show her sensuality and delicious erotic high for her bridegroom and beloved, Dumuzid.
There are other connections between Inanna and Mary Magdalene. The strongest of them is the notion of resurrection.
It is not known how old the notion of resurrection is, but it is certainly older than Christianity itself. Joseph Campbell in Goddesses: Mysteries of the Feminine Divine, says that he has often lectured on the old topic of the pre-Christian stories of resurrection in Jesuit seminaries, and no one has been surprised! They already knew the story, Campbell admits, but they believed that Jesus’ story was more unique.
I am not sure what this means exactly, except that perhaps the same story has been repeated in the Cosmic Consciousness, with historical figures re-enacting it over and over again until we fully understand its meaning.
In Inanna’s story, she descends into the Underworld to attend the funeral of her sister’s husband — one of the rulers of the Underworld. But after Inanna reaches the Underworld, she is not allowed to return and dies. However, through the divine intervention of the God Enki, her father, she is brought back to life, but needs to find replacement for herself. She chooses her beloved Dumuzid, who, in her absence, has usurped her throne. Eventually, Dumuzid too is allowed to return to earth, but only in spring and summer; in autumn, he must die again (Reichard, 2013).
I am not sure what this means exactly, except that perhaps the same story has been repeated in the Cosmic Consciousness, with historical figures re-enacting it over and over again until we fully understand its meaning.
In Inanna’s story, she descends into the Underworld to attend the funeral of her sister’s husband — one of the rulers of the Underworld. But after Inanna reaches the Underworld, she is not allowed to return and dies. However, through the divine intervention of the God Enki, her father, she is brought back to life, but needs to find replacement for herself. She chooses her beloved Dumuzid, who, in her absence, has usurped her throne. Eventually, Dumuzid too is allowed to return to earth, but only in spring and summer; in autumn, he must die again (Reichard, 2013).
Another version of this story was re-enacted in Ancient Egypt, in the persons of Isis, Horus and Osiris. And in Ancient Greece, in the story of Persephone and Demeter (mother and daughter), complete with the same ending and partial resurrection. And again, most notably, in Christianity, in the story of Jesus and Mary Magdalene, who both anoints Jesus and finds him resurrected.
So we see some of the same themes that we have encountered before being mentioned in the article above, i.e., the Tree of Life, resurrection, seasonal renewal and descents into the underworld. Moreover, the stories associated with Inanna seem also to be associated with Isis, Persephone and Demeter. We know from the C's that Egypt derived its civilisation from Mesopotamia when a group of sumerians migrated to Egypt, so we must assume that Inanna was on first base and the stories of Isis, Osirus and Horus merely derive from older legends rooted in Sumeria, which in turn are connected with the Annunaki, the pantheon of gods headed by Anu, Enlil and Enki.
So we see some of the same themes that we have encountered before being mentioned in the article above, i.e., the Tree of Life, resurrection, seasonal renewal and descents into the underworld. Moreover, the stories associated with Inanna seem also to be associated with Isis, Persephone and Demeter. We know from the C's that Egypt derived its civilisation from Mesopotamia when a group of sumerians migrated to Egypt, so we must assume that Inanna was on first base and the stories of Isis, Osirus and Horus merely derive from older legends rooted in Sumeria, which in turn are connected with the Annunaki, the pantheon of gods headed by Anu, Enlil and Enki.
Turning to Wikipedia, we learn of other aspects of the Inanna story:
Inanna appears in more myths than any other Sumerian deity. Many of her myths involve her taking over the domains of other deities. She was believed to have stolen the mes, which represented all positive and negative aspects of civilization, from Enki, the god of wisdom. She was also believed to have taken over the Eanna temple from An, the god of the sky. Alongside her twin brother Utu (later known as Shamash - a sun god), Inanna was the enforcer of divine justice; she destroyed Mount Ebih for having challenged her authority, unleashed her fury upon the gardener Shukaletuda after he raped her in her sleep, and tracked down the bandit woman Bilulu and killed her in divine retribution for having murdered Dumuzid. In the standard Akkadian version of the Epic of Gilgamesh, Ishtar asks Gilgamesh to become her consort. When he refuses, she unleashes the Bull of Heaven, resulting in the death of Enkidu and Gilgamesh's subsequent grapple with his mortality.
Inanna/Ishtar's most famous myth is the story of her descent into and return from Kur, the Ancient Mesopotamian underworld, a myth in which she attempts to conquer the domain of her older sister Ereshkigal, the queen of the underworld, but is instead deemed guilty of hubris by the seven judges of the underworld and struck dead. Three days later, Ninshubur pleads with all the gods to bring Inanna back, but all of them refuse her except Enki, who sends two sexless beings to rescue Inanna. They escort Inanna out of the underworld, but the galla, the guardians of the underworld, drag her husband Dumuzid down to the Underworld as her replacement. Dumuzid is eventually permitted to return to heaven for half the year while his sister Geshtinanna remains in the underworld for the other half, resulting in the cycle of the seasons.
As to her origins, Inanna has posed a problem for many scholars of ancient Sumer due to the fact that her sphere of power contained more distinct and contradictory aspects than that of any other deity. Two major theories regarding her origins have been proposed. The first explanation holds that Inanna is the result of a syncretism between several previously unrelated Sumerian deities with totally different domains. The second explanation holds that Inanna was originally a Semitic deity who entered the Sumerian pantheon after it was already fully structured, and who took on all the roles that had not yet been assigned to other deities.
As to her husband Dumuzid, (Sumerian: 𒌉𒍣𒉺𒇻, romanised: Dumuzid sipad) or Dumuzi, later known by the alternative form Tammuz, he is an ancient Mesopotamain god associated with shepherds. So we find the shepherd theme cropping up again.
What is clear is that Inanna only took on more prominence once Sargon the Great (who may have been the original Moses like liberator of the captive Scythian-semitic people) came to power. Since he was a Scythian-Celt and not an indigenous Sumerian, this may suggest that she was a Semitic deity who perhaps have had her roots in even older Celtic mother goddess deities.
With the seven judges of the underworld (also seen in Mayan myths) we see another connection with the number seven, which could relate to the seven chakras, the seven ruling planets and possibly to the 'Court of Seven' mentioned by the C's.
Inanna/Ishtar's most famous myth is the story of her descent into and return from Kur, the Ancient Mesopotamian underworld, a myth in which she attempts to conquer the domain of her older sister Ereshkigal, the queen of the underworld, but is instead deemed guilty of hubris by the seven judges of the underworld and struck dead. Three days later, Ninshubur pleads with all the gods to bring Inanna back, but all of them refuse her except Enki, who sends two sexless beings to rescue Inanna. They escort Inanna out of the underworld, but the galla, the guardians of the underworld, drag her husband Dumuzid down to the Underworld as her replacement. Dumuzid is eventually permitted to return to heaven for half the year while his sister Geshtinanna remains in the underworld for the other half, resulting in the cycle of the seasons.
As to her origins, Inanna has posed a problem for many scholars of ancient Sumer due to the fact that her sphere of power contained more distinct and contradictory aspects than that of any other deity. Two major theories regarding her origins have been proposed. The first explanation holds that Inanna is the result of a syncretism between several previously unrelated Sumerian deities with totally different domains. The second explanation holds that Inanna was originally a Semitic deity who entered the Sumerian pantheon after it was already fully structured, and who took on all the roles that had not yet been assigned to other deities.
As to her husband Dumuzid, (Sumerian: 𒌉𒍣𒉺𒇻, romanised: Dumuzid sipad) or Dumuzi, later known by the alternative form Tammuz, he is an ancient Mesopotamain god associated with shepherds. So we find the shepherd theme cropping up again.
What is clear is that Inanna only took on more prominence once Sargon the Great (who may have been the original Moses like liberator of the captive Scythian-semitic people) came to power. Since he was a Scythian-Celt and not an indigenous Sumerian, this may suggest that she was a Semitic deity who perhaps have had her roots in even older Celtic mother goddess deities.
With the seven judges of the underworld (also seen in Mayan myths) we see another connection with the number seven, which could relate to the seven chakras, the seven ruling planets and possibly to the 'Court of Seven' mentioned by the C's.
It also interests me that Inanna is linked with the destruction of Mount Ebih and the stealing of the Mes.
The “Inanna and Ebih” poem was composed around 2300 BCE by the Sumerian poetess Enheduanna and it was rediscovered in the 20th Century. The story told in the poem can be summarized in a few lines. We read first that the Goddess Inanna is preparing to do battle against the mountain "Ebih," because the mountain “showed her no respect”. Before attacking, Inanna goes to see the God An, whom she calls “father,” apparently to ask for his help. An, however, is perplexed and Inanna decides to fight alone; eventually managing to triumph over the mountain.
I am very interested in this story since it links with a parallel story about how the god Ninurta also fought a mountain (which is a strange thing to do when you think about it) as described in the Lugal-e Mesopotamian story.
I think Mount Ebih may actually be the Great Pyramid of Giza and may suggest that the Pyramid became the scene of a battle between the gods over its control as a weapon system in ancient times. I am aiming to do an article on this in the near future, since I think it links with the Holy Grail.
As for "Mes", these have long puzzled archaeologists and historian over the years. However, in Sumerian mythology, a me (𒈨; Sumerian: me; Akkadian: paršu) is taken to be one of the decrees of the divine that is foundational to those social institutions, religious practices, technologies, behaviors, mores, and human conditions that make civilization, as the Sumerians understood it, possible. "The Mes were therefore documents or tablets, which were effectively blueprints for civilisation… They tend to put me in mind of the Ten Commandments that in the Bible were the commandments of God recorded on tablets of stone by Moses. They also remind me to some extent of the Emerald Tablets of Thoth, the Egyptian god of wisdom later rebranded as Hermes by the Greeks and hence the source of hermetic wisdom.
It was the Sumerian deity Enki who was the keeper of the divine powers called Me, the gifts of civilization. He is often shown with the horned crown of divinity. However, Inanna tricked the god of culture, Enki, who was worshipped in the city of Eridu, into giving her the Mes. Inanna traveled to Enki's city Eridu, and by getting him drunk, she got him to give her hundreds of these Mes, which she took to her city of Uruk. Later, when sober, Enki sent mighty Abgallu (sea monsters, from ab, sea or lake + gal, big + lu, man) to stop her boat as it sailed the Euphrates and retrieve his gifts, but she escaped with the Mes and brought them to her city. Sea monsters hmmm... Leviathan maybe or the Kraken of Andromeda fame?
I think Mount Ebih may actually be the Great Pyramid of Giza and may suggest that the Pyramid became the scene of a battle between the gods over its control as a weapon system in ancient times. I am aiming to do an article on this in the near future, since I think it links with the Holy Grail.
As for "Mes", these have long puzzled archaeologists and historian over the years. However, in Sumerian mythology, a me (𒈨; Sumerian: me; Akkadian: paršu) is taken to be one of the decrees of the divine that is foundational to those social institutions, religious practices, technologies, behaviors, mores, and human conditions that make civilization, as the Sumerians understood it, possible. "The Mes were therefore documents or tablets, which were effectively blueprints for civilisation… They tend to put me in mind of the Ten Commandments that in the Bible were the commandments of God recorded on tablets of stone by Moses. They also remind me to some extent of the Emerald Tablets of Thoth, the Egyptian god of wisdom later rebranded as Hermes by the Greeks and hence the source of hermetic wisdom.
It was the Sumerian deity Enki who was the keeper of the divine powers called Me, the gifts of civilization. He is often shown with the horned crown of divinity. However, Inanna tricked the god of culture, Enki, who was worshipped in the city of Eridu, into giving her the Mes. Inanna traveled to Enki's city Eridu, and by getting him drunk, she got him to give her hundreds of these Mes, which she took to her city of Uruk. Later, when sober, Enki sent mighty Abgallu (sea monsters, from ab, sea or lake + gal, big + lu, man) to stop her boat as it sailed the Euphrates and retrieve his gifts, but she escaped with the Mes and brought them to her city. Sea monsters hmmm... Leviathan maybe or the Kraken of Andromeda fame?
Here is a supposed list of the Mes:
- ENship.
- Godship.
- The exalted and enduring crown.
- The throne of kingship.
- The exalted sceptre.
- The royal insignia.
- The exalted shrine.
- Shepherdship.
The Enuma Elish
However, could they have had another more technical meaning suggesting high technology? In the story of Marduk in the Enuma Elish. The Enuma Elish (also known as The Seven Tablets of Creation) is the Mesopotamian creation myth. The myth tells the story of the great god Marduk's victory over the forces of chaos and his establishment of order at the creation of the world. All of the tablets containing the myth, found at Ashur, Kish, Ashurbanipal's library at Nineveh, Sultantepe, and other excavated sites, date to c. 1200 BC but their colophons indicate that these are all copies of a much older version of the myth dating from long before the fall of Sumer in c. 1750 BC. So the Enuma Elish may be one of the oldest stories in the world.
These Seven Tablets of Creation may also link with the Tablet of Destinie. In Mesopotamian mythology, the Tablet of Destinies (Sumerian: 𒁾𒉆𒋻𒊏 dub namtarra; Akkadian: ṭup šīmātu, ṭuppi šīmāti) was envisaged as a clay tablet inscribed with cuneiform writing, also impressed with cylinder seals, which, as a permanent legal document, conferred upon the god Enlil his supreme authority as ruler of the universe. In the Sumerian poem Ninurta and the Turtle it is the god Enki, rather than Enlil, who holds the Tablet, as Enki has stolen it and brought it to the Abzu. Both this poem and the Akkadian Anzû poem also share concern of the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian). In the Babylonian Enuma Elish, Tiamat bestows this tablet on Kingu and gives him command of her army. In the end, the Tablet always returns to Enlil.
I wonder if there is any connection between the 'Tablet of Destinies' and the Spear of Destiny, which could have been Jacob's Pillar? if so, is there any connection also to the Holy Grail, the Merkabah or Matriarch Stone?
The Enuma Elish and the Bible
The Enuma Elish would later be the inspiration for the Hebrew scribes who created the text now known as the biblical Book of Genesis. Prior to the 19th century CE, the Bible was considered the oldest book in the world and its narratives were thought to be completely original. In the mid-19th century CE, however, European museums, as well as academic and religious institutions, sponsored excavations in Mesopotamia to find physical evidence for historical corroboration of the stories in the Bible. These excavations found quite the opposite, however, in that, once cuneiform was translated, it was understood that a number of biblical narratives were Mesopotamian in origin.
In revising the Mesopotamian creation story for their own ends, the Hebrew scribes tightened the narrative and the focus but retained the concept of the all-powerful deity who brings order from chaos. Marduk, in the Enuma Elish, establishes the recognizable order of the world - just as God does in the Genesis tale - and human beings are expected to recognize this great gift and honour the deity through service. In Mesopotamia, in fact, it was thought that humans were co-workers with the gods to maintain the gift of creation and keep the forces of chaos at bay.
Marduk
Marduk gained prominence in Babylon during the reign of Hammurabi (1792-1750 BC) and superseded the popular goddess Inanna in worship. During Hammurabi's reign, in fact, a number of previously popular female deities were replaced by male gods. The Enuma Elish, praising Marduk as the most powerful of all the gods, therefore became increasingly popular as the god himself rose in prominence and his city of Babylon grew in power.
Hence, the replacement of female deities by male gods seems to date from this period with the rise of Babylon.
These Seven Tablets of Creation may also link with the Tablet of Destinie. In Mesopotamian mythology, the Tablet of Destinies (Sumerian: 𒁾𒉆𒋻𒊏 dub namtarra; Akkadian: ṭup šīmātu, ṭuppi šīmāti) was envisaged as a clay tablet inscribed with cuneiform writing, also impressed with cylinder seals, which, as a permanent legal document, conferred upon the god Enlil his supreme authority as ruler of the universe. In the Sumerian poem Ninurta and the Turtle it is the god Enki, rather than Enlil, who holds the Tablet, as Enki has stolen it and brought it to the Abzu. Both this poem and the Akkadian Anzû poem also share concern of the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian). In the Babylonian Enuma Elish, Tiamat bestows this tablet on Kingu and gives him command of her army. In the end, the Tablet always returns to Enlil.
I wonder if there is any connection between the 'Tablet of Destinies' and the Spear of Destiny, which could have been Jacob's Pillar? if so, is there any connection also to the Holy Grail, the Merkabah or Matriarch Stone?
The Enuma Elish and the Bible
The Enuma Elish would later be the inspiration for the Hebrew scribes who created the text now known as the biblical Book of Genesis. Prior to the 19th century CE, the Bible was considered the oldest book in the world and its narratives were thought to be completely original. In the mid-19th century CE, however, European museums, as well as academic and religious institutions, sponsored excavations in Mesopotamia to find physical evidence for historical corroboration of the stories in the Bible. These excavations found quite the opposite, however, in that, once cuneiform was translated, it was understood that a number of biblical narratives were Mesopotamian in origin.
In revising the Mesopotamian creation story for their own ends, the Hebrew scribes tightened the narrative and the focus but retained the concept of the all-powerful deity who brings order from chaos. Marduk, in the Enuma Elish, establishes the recognizable order of the world - just as God does in the Genesis tale - and human beings are expected to recognize this great gift and honour the deity through service. In Mesopotamia, in fact, it was thought that humans were co-workers with the gods to maintain the gift of creation and keep the forces of chaos at bay.
Marduk
Marduk gained prominence in Babylon during the reign of Hammurabi (1792-1750 BC) and superseded the popular goddess Inanna in worship. During Hammurabi's reign, in fact, a number of previously popular female deities were replaced by male gods. The Enuma Elish, praising Marduk as the most powerful of all the gods, therefore became increasingly popular as the god himself rose in prominence and his city of Babylon grew in power.
Hence, the replacement of female deities by male gods seems to date from this period with the rise of Babylon.
Debra Lynn
Jedi
Hi MJF
I have a question that may be related to the bloodlines but I am not sure. I'm not even sure how to go about researching this. In the session from 5-30-09 the C's said that the earliest "Christ" was a woman. My thinking on this is that it would be nice to acknowledge her by at least knowing her name and a bit about her. Then while reading Laura's new book I came across this: A.J. Gordon wrote "It is evident that the Holy Spirit made this woman Priscilla a teacher of teachers." She was talking about the Priscilla from the new Testament who some say wrote Hebrews. pg. 82-83.
So my thoughts are swirling around this question and I started thinking 'oh, this must of been Laura in a previous life or however one want's to define the process. Is this something in the bloodline you are speaking of that might enable the 'spirit' to connect more deeply than others and then being STO orientated begin to branch outwards into questioning and then teaching? I hope this is making sense.
Reading the Romantic books and in the thread it seems we are beginning to understand and 'connect' with the other. Perhaps bringing forth the 'child' of that understanding. The Trinity. I'm not sure that connection will mean we will be hermaphrodite's if we are able to cross over into 4D as you suggested, but that there might be a higher or deeper meaning to all of that. Building a bridge of our combined energies to enable us to cross into that realm. If we can. I may be way off base here though. Still reading Laura's book and thinking about many things.
Sorry if this is bit jumbled up. How would you research this? (when you have time, no hurry)
I have a question that may be related to the bloodlines but I am not sure. I'm not even sure how to go about researching this. In the session from 5-30-09 the C's said that the earliest "Christ" was a woman. My thinking on this is that it would be nice to acknowledge her by at least knowing her name and a bit about her. Then while reading Laura's new book I came across this: A.J. Gordon wrote "It is evident that the Holy Spirit made this woman Priscilla a teacher of teachers." She was talking about the Priscilla from the new Testament who some say wrote Hebrews. pg. 82-83.
So my thoughts are swirling around this question and I started thinking 'oh, this must of been Laura in a previous life or however one want's to define the process. Is this something in the bloodline you are speaking of that might enable the 'spirit' to connect more deeply than others and then being STO orientated begin to branch outwards into questioning and then teaching? I hope this is making sense.
Reading the Romantic books and in the thread it seems we are beginning to understand and 'connect' with the other. Perhaps bringing forth the 'child' of that understanding. The Trinity. I'm not sure that connection will mean we will be hermaphrodite's if we are able to cross over into 4D as you suggested, but that there might be a higher or deeper meaning to all of that. Building a bridge of our combined energies to enable us to cross into that realm. If we can. I may be way off base here though. Still reading Laura's book and thinking about many things.
Sorry if this is bit jumbled up. How would you research this? (when you have time, no hurry)
The 'Was' also represented a form of shepherd's staff or even a long wand such as that carried by a wizard (from the Egyptian "Vizier") or druid priest, as typified by the character of Gandalf in Tolkein's Lord of the Rings. Apparently, Gandalf in Norse; IPA: [gand:alf] means "Elf of the Wand" or "Wand-elf". Usually these priests wore white robes whatever culture they would appear in. Hence, we might be seeing here an ancient great white brotherhood operating across time and cultures having arcane, esoteric and occult knowledge, which they only disclosed to those judged worthy.
Was sceptres were depicted as being carried by gods, pharaohs, and priests. In later use, it was a symbol of control over the force of chaos that Set represented.
On this last point, one of the Pharaoh's sacred roles was to preserve the kingdom from chaos and keep the state of Ma’at or balance/order. Ma’at is constantly threatened by "isfet" (disorder, injustice, lie), and it was Pharaoh’s role to dispel isfet in order to give room to ma’at.
Unfortunately, this is what Akhenaten failed to do and so he paid the ultimate price for it. Here is what the C's had to say about him in the Session dated 3 July 1999:
Q: What happened to Akhenaten? He also brought about the monotheistic worship and was apparently so hated that any mention of him, his very name, was stricken from buildings and statuary; his tomb was defaced and there was tremendous turmoil in the land. He essentially disappeared from the landscape, erased by the people who must have really hated him. What was the deal with Akhenaten?Was sceptres were depicted as being carried by gods, pharaohs, and priests. In later use, it was a symbol of control over the force of chaos that Set represented.
On this last point, one of the Pharaoh's sacred roles was to preserve the kingdom from chaos and keep the state of Ma’at or balance/order. Ma’at is constantly threatened by "isfet" (disorder, injustice, lie), and it was Pharaoh’s role to dispel isfet in order to give room to ma’at.
Unfortunately, this is what Akhenaten failed to do and so he paid the ultimate price for it. Here is what the C's had to say about him in the Session dated 3 July 1999:
A: Is not that enough? Must one endure anymore?
Q: Endure anymore what?
A: Vilification.
Q: Why was Akhenaten portrayed in images as a rather feminine individual? Did he have a congenital disease? Was he a hermaphrodite? Was he an alchemical adept who had gone through the transformation?
A: None of these.
Q: What was the reason for his strange physical appearance; his feminine hips and belly and strangely elongated face...
A: Depictions.
Q: So this was NOT how he really looked?
A: Not really.
Q: Did he choose to be depicted this way?
A: No.
Q: Was he depicted this way later as an insult?
A: Closer.
I recently came across an article written from a Jewish perspective that analysed the role of the Pharaoh within Egyptian society, which goes into more detail about his role in preserving Ma'at or balance/order. It also makes mention of Akhenaten.
Pharaoh's Divine Role in Maintaining Ma'at (Order)
Professor Jan AssmannEditor’s Preface: Most Jews with some traditional education have heard that Pharaoh saw himself as a god. The Bible never states this explicitly, but the midrash makes much of this. Most famously, Rashi offers the following interpretation of Exodus 7:15,[1] to explain why God tells Moses to meet Pharaoh by the Nile in the morning:
הנה יצא המימה – לנקביו, שהיה עושה עצמו אלוה ואומר שאינו צריך לנקביו ומשכים ויוצא לנילוס ועושה שם צרכיו:
“As he is coming out to the water” – to relieve himself. He made himself out to be a god and said that he had no need to relieve himself. Therefore, he woke early in the morning and went out to the Nile to relieve himself.
This is clearly polemical satire. How would the Egyptians themselves have understood Pharaoh’s divinity?
Pharaoh’s Role as the Son of the God Ra
The Egyptian world is founded on two basic assumptions that are both overturned by biblical monotheism.The first is the conviction that ma’at, the Egyptian concept and personification of truth, justice, social order and harmony, as well as political success and natural fertility are dependent on the state, i.e., on Pharaoh and his permanent communication with the divine world. Pharaoh, himself a god, was regarded as the son of the supreme deity and given the name, “son of Ra,” and thus incorporated the link between heaven and earth.
According to one text (of canonical normativity), the sun and creator god, Ra:
has placed the king on earth
for ever and ever,
in order that he may judge mankind and satisfy the gods;
establish Ma’at and annihilate Isfet
giving offerings to the gods and funerary offerings to the dead.[2]
Ma’at is constantly threatened by isfet (disorder, injustice, lie), and it is Pharaoh’s role to dispel isfet in order to give room to ma’at. This means: no justice, truth, or harmony is possible on earth without Pharaoh, i.e., the state.
In religious ceremonies, Pharaoh played the role of son to all the gods and goddesses in the Egyptian pantheon, his putative mothers and fathers.[3] He entered this genealogy with coronation, part of which was a ritual enactment of his divine descent. The Egyptian gods were not just a loose assembly but a structured pantheon ruled by a supreme god, the sun, from whom not only all the gods but the entire universe originated. The work of maintenance that the sun god (Ra) exerts in the sky by distributing light and ma’at in the cosmos is mirrored on earth by Pharaoh’s establishing ma’at and dispelling isfet.
The Torah’s Polemic against Sacral Kingship
The concepts of revelation, covenant and faith or loyalty, which the book of Exodus expounds in the form of narrative, represent the exact opposite of this system of sacral kingship, placing the people in direct contact and even permanent symbiosis with God, ruling out any form of political mediation. It is true that in some Psalms, in Jewish messianism, and in the later Christian and Muslim reception history of the biblical monotheism, traces of the political theology of sacral kingship survive this revolution/revelation, but in the Torah – and this is what interests us here – revolutionary concepts of covenant and revelation appear in all their radical power.
In the biblical picture, Pharaoh is deprived of his divinity and appears as a tyrant of grotesque hubris. By portraying Pharaoh as ineffectual again and again, the biblical picture denies Pharaoh’s divinity.
This biblical picture contrasts sharply with the Egyptian concept of sacral kingship, in which Pharaoh does not act on his own account but as deputy, representative, son, and image of the creator whose cosmic work of creation and maintenance he executes on the “earth of the living” and to whom he remains responsible. If he fails in this task, the gods will turn their back on Egypt.
In the biblical picture, Pharaoh is deprived of his divinity and appears as a tyrant of grotesque hubris. By portraying Pharaoh as ineffectual again and again, the biblical picture denies Pharaoh’s divinity.
This biblical picture contrasts sharply with the Egyptian concept of sacral kingship, in which Pharaoh does not act on his own account but as deputy, representative, son, and image of the creator whose cosmic work of creation and maintenance he executes on the “earth of the living” and to whom he remains responsible. If he fails in this task, the gods will turn their back on Egypt.
The Egyptians believed that they experienced this during Akhenaton’s monotheistic revolution. Thus writes Tutankhamun in retrospect on his Restoration Stela:
The land was in grave ailment,
The gods had turned their backs on this land.[4]
The Dependence of the World
on the State-Run Rituals
The second conviction of the ancient Egyptians assumed that the world is permanently threatened by collapse and its continuance is dependent on ritual action. Thus, we read in another text:
If the loaves are few on their altars,
the same will happen in the whole land
and few will be the food for the living.
If the libations are discontinued,
the inundation will fail in its source
<…> and famine will reign in the country.
If the ceremonies for Osiris are neglected <…>
the country will be deprived of its laws.
<…> the foreign countries will rebel against Egypt
and civil war and revolution will rise in the whole country.
In the Torah, ritual also plays an important role. But it has nothing to do with maintaining cosmic and social order. Both depend on God’s will rather than human action.
The Tension over Sacral Kingship through Time
Both Egyptian convictions — sacral kingship and the world-maintaining nature of ritual — have proved to be deeply rooted in human mentality. This explains the strong biblical – or, to be more precise, the Deuteronomistic – attack on them. But this polemic was not fully successful, and the ideas of sacral kingship surfaced again and again in Christian and Islamic history. But the Deuteronomist resistance to kingship persisted in places, especially in Protestant movements such as English puritanism, culminating in the public execution of Charles I of England 1647.
· He is citing the same tradition as found in Exodus Rabbah 8:9 and other places.
· Jan Assmann: Der König als Sonnenpriester. Ein kosmographischer Begleittext zur kultischen Sonnenhymnik in thebanischen Tempeln und Gräbern (= Abhandlungen des Deutschen Archäologischen Instituts Kairo, Bd. 7). Glückstadt 1970; Jan Assmann, Ma’at. Gerechtigkeit und Unsterblichkeit im alten Ägypten (München: C.H. Beck, 1990), 205-212.
· Mia Rikala: "Sacred Marriage in the New Kingdom of Ancient Egypt: Circumstantial Evidence for a Ritual Interpretation,” in: Sacred Marriages, The Divine-Human Sexual Metaphor from Sumer to Early Christianity (eds. M.Nissinen/R. Uro (Hg.); Winona Lake: Eisenbrauns, 2008), 115-144.
· Wolfgang Helck: Urkunden der 18. Dynastie. Abteilung IV, Heft 22: Inschriften der Könige von Amenophis III. bis Haremhab und ihrer Zeitgenossen. Berlin 1958, S. 2027.
I would just add that I think it is fair to say that throughout their history, whether as the Children of Israel or later as the Jewish people, the Jews have never really been big on kings, which is exemplified by the general contempt the Jewish people had for their last line of kings from the Herodian dynasty. See Herodian Kingdom of Judea - Wikipedia.
moyal
Jedi Master
To better understand the concept of ma'at look at the depictions of the Egyptian godess:
Her symbol is an ostrich feather, which she wears on her head.
Stand upright, arms down on the body and concentrate on the central axis running through your body from beneath the soles of your feet up to over your head.
Try to stand still as much as possible.
Notice, that it is not possible.
Your body will always slightly move, like reed swayed by the wind, to hold balance.
Now imagine, that you would have an ostrich feather on your head like Ma'at and how every slight move of your body would be seen through the succussions of the feather.
Her symbol is an ostrich feather, which she wears on her head.
Stand upright, arms down on the body and concentrate on the central axis running through your body from beneath the soles of your feet up to over your head.
Try to stand still as much as possible.
Notice, that it is not possible.
Your body will always slightly move, like reed swayed by the wind, to hold balance.
Now imagine, that you would have an ostrich feather on your head like Ma'at and how every slight move of your body would be seen through the succussions of the feather.
You make a very good connection here. It makes me think of the old deportment lessons given to young ladies where they were required to balence a book on their heads without dropping it, to encourage them to walk more elegantly.
It is interesting too that you mention the concentration on the central axis running through the body since that is represented in the torso by the spinal column, along which the seven chakras are connected, ending with the crown chakra above the head (third eye). The kundalini awakening would see all seven chakras acting in perfect balance together. The Freemasons represent this idea of balance with the plumb line.
It also explains why eastern mystics adopt the lotus position (as per the Buddha) and seek to keep perfectly still when meditating.
Of course, with the Pharaoh, the concept of balance or order extended to the whole kingdom of Egypt and was not just a personal thing.
John Dee and the 13 Crystal Skulls
The painting certainly makes Dee look every bit the magus or magician at the court performing his conjuring tricks.
For those not familiar with Perceval, here is a brief description of the tale:
Session dated 5 July 1997:
Q: Okay. I am not going to get into all of this, but I would like to know the significance of the Fisher King?
A: Do you mean of the person or of the designation?
Q: The designation, first.
A: The one who resides within a circular continuum.
Q: What about the significance of the person?
A: Transcendental.
Q: What is a circular continuum?
A: Trapped within the grasp of one's own significance, to the exclusion of the acquisition of a broader knowledge base and understanding."
The Triple Goddess
[MJF: With all these references, are we really just seeing echoes of Hagar/Kore and Nefertiti/Sarah? Is there also a hint here that the Holy Grail may be a three faced crystal skull, as was suggested for Baphomet by Philip Gardiner and Gary Osborn?]
Modern Wicca Traditions
If the Holy Grail is in fact a pure crystal skull, then this picture of John Dee performing some magic trick or scientific experiment at the Court of Queen Elizabeth takes on a very different perspective. We must also ask what is that the artist was seeking to convey here.
The painting certainly makes Dee look every bit the magus or magician at the court performing his conjuring tricks.
The painting was executed by the British artist Henry Gillard Glindoni (1852-1913). It imagines a scene with Elizabeth visiting Dee’s house in Mortlake. To her left are her chief adviser William Cecil and her favoured courtier Sir Walter Raleigh. Seated behind Dee is his trance medium, or scryer, Edward Kelley, who is wearing a long skullcap to conceal the fact that his ears had been cut off as a punishment for his youthful crimes.
However, it is the X-ray version of the painting that gives us an additional perspective when you see Dee seemingly surrounded by a circle of human skulls. Why Glindoni painted them out is unknown. Perhaps he had to make it look like what we now see, which is august and serious, from what it was, which was occult and spooky on the instructions of the person who commissioned the work. Alternatively, did the patron realise Glindoni was hinting at something that should remain hidden and asked him to paint over it?
Glindoni's (original name ‘Glindon’ - an Irish name) speciality was that of 17th and 18th century costume and he was noted for his paintings of Cardinals. He frequently exhibited between 1872 and 1904, at the Royal Academy. He was accepted as a full member of the Royal Society of British Artists in 1879.
However, it is the X-ray version of the painting that gives us an additional perspective when you see Dee seemingly surrounded by a circle of human skulls. Why Glindoni painted them out is unknown. Perhaps he had to make it look like what we now see, which is august and serious, from what it was, which was occult and spooky on the instructions of the person who commissioned the work. Alternatively, did the patron realise Glindoni was hinting at something that should remain hidden and asked him to paint over it?
Glindoni's (original name ‘Glindon’ - an Irish name) speciality was that of 17th and 18th century costume and he was noted for his paintings of Cardinals. He frequently exhibited between 1872 and 1904, at the Royal Academy. He was accepted as a full member of the Royal Society of British Artists in 1879.
As the person who posted this image noted, there are five skulls in front of him and three behind him. Three plus five make eight and the numbers 3, 5 and 8 from part of the Fibonacci sequence, which is reflected both in nature (the number of petals on flowers and in shell spirals) and in the golden ratio. If you add 5 and 8 together you get the next number in the Fibonacci sequence, which is 13. Hence, is the artist trying to intimate something to us here? If he had painted more of the foreground in front of Dee, would he have painted five more skulls into the picture perhaps? And what might be the significance of 13 skulls?
If you look carefully, you will see on the extreme left of the picture an ugly looking figure, which may represent a crone or an old hag (an unpleasant English expression for an old woman). This figure of an old hag has though deep occult significance and pops up in mythical tales from all over the world.
As to etymology - the term “hag” appears in Middle English, and was a shortening of “hægtesse”, an Old English term for 'witch'; similarly the Dutch heks and German Hexe are also shortenings, of the Middle Dutch haghetisse and Old High German hagzusa, respectively. All of these words are derived from the Proto-Germanic hagatusjon, which is of unknown origin; the first element may be related to the word “hedge”.
A hag, in European folklore, was an ugly and malicious old woman who practices witchcraft, with or without supernatural powers – think of the witch in Hansel and Gretel. Hags are often said to be aligned with the devil or the dead. Hags are often seen as malevolent, but may also be one of the chosen forms of shapeshifting deities, such as The Morrígan or Badb, who are seen as neither wholly benevolent nor malevolent.
The “night hag” or “old hag” is also the name given to a supernatural creature, commonly associated with the phenomenon of sleep paralysis. It is a phenomenon during which a person feels a presence of a supernatural malevolent being which immobilises the person as if sitting on their chest or the foot of their bed. This variety of hag is essentially identical to the Old English mæra — a being with roots in ancient Germanic superstition, and closely related to the Scandinavian mara. According to folklore, the Old Hag sat on a sleeper's chest and sent nightmares to him or her. When the subject awoke, he or she would be unable to breathe or even move for a short period of time.
The expression Old Hag Attack also refers to a hypnagogic state in which paralysis is present. Quite often, it is accompanied by terrifying hallucinations. When excessively recurrent, some psychiatrists and physicians consider these attacks to be a disorder. Many populations treat such incidents as part of their culture and mythological worldview, rather than any form of disease or pathology.
Hags in Irish Mythology
In Irish and Scottish mythology, the cailleach is a hag goddess concerned with creation, harvest, the weather, and sovereignty. In partnership with the goddess Bríd, she is a seasonal goddess, seen as ruling the winter months while Bríd rules the summer. In Scotland, a group of hags, known as The Cailleachan (The Storm Hags) are seen as personifications of the elemental powers of nature, especially in a destructive aspect. They are said to be particularly active in raising the windstorms of spring, during the period known as A Chailleach.
Hags as sovereignty figures abound in Irish mythology. The most common pattern is that the hag represents the barren land which the hero of the tale must approach without fear and come to love on her own terms. When the hero displays this courage, love, and acceptance of her hideous side, the sovereignty hag then reveals that she is also a young and beautiful goddess.
What is interesting here is that the hag goddess is also linked with our familiar goddess Tara (Hagar) in the form of Brid or Brigit and sometimes these hags may form a triple or group of such beings as depicted in Shakespeare’s play Macbeth (c. 1603–1607), where the main protagonist of the play encounters three witches round a cauldron. The three witches, also known as the Weird Sisters or Wayward Sisters, eventually lead Macbeth to his demise and hold a striking resemblance to the Three Fates of classical mythology. The Three Fates (particularly Atropos) are often depicted as hags. The hag is also similar to Lilith of the Torah, the Bible’s Old Testament.
Perceval and the Old Hag
However, there is one depiction of the old hag that links us directly to the Holy Grail and that is the hag in the story of Percival, as depicted in Chrétien de Troyes ‘Perceval, the Story of the Grail‘ written in the late 12th century. Perceval is the earliest recorded account of what was to become the Quest for the Holy Grail but it describes only a golden grail (a serving dish) in the central scene and does not call it "holy" and treats a lance, appearing at the same time, as equally significant. [MJF: Could this lance have been a reference to the Spear of Destiny perhaps?]
If you look carefully, you will see on the extreme left of the picture an ugly looking figure, which may represent a crone or an old hag (an unpleasant English expression for an old woman). This figure of an old hag has though deep occult significance and pops up in mythical tales from all over the world.
As to etymology - the term “hag” appears in Middle English, and was a shortening of “hægtesse”, an Old English term for 'witch'; similarly the Dutch heks and German Hexe are also shortenings, of the Middle Dutch haghetisse and Old High German hagzusa, respectively. All of these words are derived from the Proto-Germanic hagatusjon, which is of unknown origin; the first element may be related to the word “hedge”.
A hag, in European folklore, was an ugly and malicious old woman who practices witchcraft, with or without supernatural powers – think of the witch in Hansel and Gretel. Hags are often said to be aligned with the devil or the dead. Hags are often seen as malevolent, but may also be one of the chosen forms of shapeshifting deities, such as The Morrígan or Badb, who are seen as neither wholly benevolent nor malevolent.
The “night hag” or “old hag” is also the name given to a supernatural creature, commonly associated with the phenomenon of sleep paralysis. It is a phenomenon during which a person feels a presence of a supernatural malevolent being which immobilises the person as if sitting on their chest or the foot of their bed. This variety of hag is essentially identical to the Old English mæra — a being with roots in ancient Germanic superstition, and closely related to the Scandinavian mara. According to folklore, the Old Hag sat on a sleeper's chest and sent nightmares to him or her. When the subject awoke, he or she would be unable to breathe or even move for a short period of time.
The expression Old Hag Attack also refers to a hypnagogic state in which paralysis is present. Quite often, it is accompanied by terrifying hallucinations. When excessively recurrent, some psychiatrists and physicians consider these attacks to be a disorder. Many populations treat such incidents as part of their culture and mythological worldview, rather than any form of disease or pathology.
Hags in Irish Mythology
In Irish and Scottish mythology, the cailleach is a hag goddess concerned with creation, harvest, the weather, and sovereignty. In partnership with the goddess Bríd, she is a seasonal goddess, seen as ruling the winter months while Bríd rules the summer. In Scotland, a group of hags, known as The Cailleachan (The Storm Hags) are seen as personifications of the elemental powers of nature, especially in a destructive aspect. They are said to be particularly active in raising the windstorms of spring, during the period known as A Chailleach.
Hags as sovereignty figures abound in Irish mythology. The most common pattern is that the hag represents the barren land which the hero of the tale must approach without fear and come to love on her own terms. When the hero displays this courage, love, and acceptance of her hideous side, the sovereignty hag then reveals that she is also a young and beautiful goddess.
What is interesting here is that the hag goddess is also linked with our familiar goddess Tara (Hagar) in the form of Brid or Brigit and sometimes these hags may form a triple or group of such beings as depicted in Shakespeare’s play Macbeth (c. 1603–1607), where the main protagonist of the play encounters three witches round a cauldron. The three witches, also known as the Weird Sisters or Wayward Sisters, eventually lead Macbeth to his demise and hold a striking resemblance to the Three Fates of classical mythology. The Three Fates (particularly Atropos) are often depicted as hags. The hag is also similar to Lilith of the Torah, the Bible’s Old Testament.
Perceval and the Old Hag
However, there is one depiction of the old hag that links us directly to the Holy Grail and that is the hag in the story of Percival, as depicted in Chrétien de Troyes ‘Perceval, the Story of the Grail‘ written in the late 12th century. Perceval is the earliest recorded account of what was to become the Quest for the Holy Grail but it describes only a golden grail (a serving dish) in the central scene and does not call it "holy" and treats a lance, appearing at the same time, as equally significant. [MJF: Could this lance have been a reference to the Spear of Destiny perhaps?]
For those not familiar with Perceval, here is a brief description of the tale:
The poem opens with Perceval, whose mother has raised him apart from civilisation in the forests of Wales. While out riding one day, he encounters a group of knights and realises he wants to be one. Despite his mother's objections, the boy heads to King Arthur’s court, where a young girl predicts greatness for him. Sir Kay taunts him and slaps the girl, but Perceval amazes everyone by killing a knight who had been troubling King Arthur and taking his vermilion (red) armour. He then sets out for adventure. He trains under the experienced Gornemant, then falls in love with and rescues Gornemant's niece Blanchefleur. Perceval captures her assailants and sends them to King Arthur's court to proclaim Perceval's vow of revenge on Sir Kay.
Perceval remembers that his mother fainted when he went off to become a knight, and goes to visit her. During his journey, he comes across the Fisher King fishing in a boat on a river, who invites him to stay at his castle. While there, Perceval witnesses a strange procession in which young men and women carry magnificent objects from one chamber to another. First, comes a young man carrying a bleeding lance, then two boys carrying candelabra, and then a beautiful young girl emerges bearing an elaborately decorated graal, or grail. Finally, another maiden carries a silver plate (or platter or carving dish). They passed before him at each course of the meal. Perceval, who had been trained by his guardian Gornemant not to talk too much, remains silent through all of this. He wakes up the next morning alone and resumes his journey home. He encounters a girl in mourning, who admonishes him for not asking about the grail, as that would have healed the wounded king. He also learns that his mother has died.
Perceval captures another knight and sends him to King Arthur's court with the same message as before. King Arthur sets out to find Perceval and, upon finding him, attempts to convince him to join the court. Perceval unknowingly challenges Sir Kay to a fight, in which he breaks Sir Kay's arm and exacts his revenge. Perceval agrees to join the court, but soon after a loathly lady enters and admonishes Perceval once again for failing to ask the Fisher King whom the grail served.
No more is heard of Perceval except in a short later passage, in which a hermit explains that the grail contains a single mass-wafer (MJF: clearly a reference to the Holy Eucharist) that miraculously sustains the Fisher King’s wounded father. The loathly lady announces other quests that the Knight of the Round Table proceed to take up and the remainder of the poem deals with Arthur's nephew and best knight Gawain, who has been challenged to a duel by a knight who claims Gawain had slain his lord. Gawain offers a contrast and complement to Perceval's naiveté as a courtly knight having to function in un-courtly settings. An important episode is Gawain's liberation of a castle whose inhabitants include his long-lost mother and grandmother as well as his sister Clarissant, whose existence was unknown to him. This tale also breaks off unfinished.
The Loathly Lady
The motif of the loathly lady is that of a woman who appears unattractive (ugly = loathly) but undergoes a transformation upon being approached by a man in spite of her unattractiveness, becoming extremely desirable. It is then revealed that her ugliness was the result of a curse which was broken by the hero's action. The loathly lady (Welsh: dynes gas, Motif D732 in Stith Thompson's motif index), was a tale type or device commonly used in medieval literature, most famously in Geoffrey Chaucer's The Wife of Bath's Tale, in which a knight, told that he can choose whether his bride is to be ugly yet faithful, or beautiful yet false, frees the lady from the form entirely by allowing her to choose for herself. A variation on this story is attached to Sir Gawain in the related grail romances The Wedding of Sir Gawain and Dame Ragnelle and The Marriage of Sir Gawain.
Another name for a loathly lady is, of course, a hag. Hence, we see a hag appearing in the story of Perceval. However, there are three main women who appear in the Perceval grail story. The first is a beautiful young girl who carries the grail followed by another carrying a silver platter [MJF: etymologically driving from the word for “knee”]. The second is the girl in mourning, who admonishes him for not asking about the grail, as that would have healed the wounded king [MJF: was he symbolically wounded in the thigh like the Patriarch Jacob perhaps?]. The third, the hag, enters the court and admonishes Perceval once again for failing to ask the Fisher King whom the grail served. In this use of three women, we see the echo of the triple goddess theme once more. The admonishment of Perceval represents the failure of the young knight to ask the question who does the Grail serve as this would have healed Arthur the Fisher King, since, unless you ask that question, you will never escape your present 3D state and will remain in wounded blissful ignorance just like the Fisher King. To illustrate this point, here is what the C’s said about the Fisher King in the session dated 5 July 1997 session, which I quoted in the thread Session 13 March 2021 where there was a discussion about the issue of repeating time loops:
"Laura's suggestion of reading the romantic novels may help speed up the process of learning these karmic lessons in the short time we have left. Moreover, the C's have said this is the end of a grand cycle, which may well provide an opportunity for people to break out of the time loop once and for all."
Perceval remembers that his mother fainted when he went off to become a knight, and goes to visit her. During his journey, he comes across the Fisher King fishing in a boat on a river, who invites him to stay at his castle. While there, Perceval witnesses a strange procession in which young men and women carry magnificent objects from one chamber to another. First, comes a young man carrying a bleeding lance, then two boys carrying candelabra, and then a beautiful young girl emerges bearing an elaborately decorated graal, or grail. Finally, another maiden carries a silver plate (or platter or carving dish). They passed before him at each course of the meal. Perceval, who had been trained by his guardian Gornemant not to talk too much, remains silent through all of this. He wakes up the next morning alone and resumes his journey home. He encounters a girl in mourning, who admonishes him for not asking about the grail, as that would have healed the wounded king. He also learns that his mother has died.
Perceval captures another knight and sends him to King Arthur's court with the same message as before. King Arthur sets out to find Perceval and, upon finding him, attempts to convince him to join the court. Perceval unknowingly challenges Sir Kay to a fight, in which he breaks Sir Kay's arm and exacts his revenge. Perceval agrees to join the court, but soon after a loathly lady enters and admonishes Perceval once again for failing to ask the Fisher King whom the grail served.
No more is heard of Perceval except in a short later passage, in which a hermit explains that the grail contains a single mass-wafer (MJF: clearly a reference to the Holy Eucharist) that miraculously sustains the Fisher King’s wounded father. The loathly lady announces other quests that the Knight of the Round Table proceed to take up and the remainder of the poem deals with Arthur's nephew and best knight Gawain, who has been challenged to a duel by a knight who claims Gawain had slain his lord. Gawain offers a contrast and complement to Perceval's naiveté as a courtly knight having to function in un-courtly settings. An important episode is Gawain's liberation of a castle whose inhabitants include his long-lost mother and grandmother as well as his sister Clarissant, whose existence was unknown to him. This tale also breaks off unfinished.
The Loathly Lady
The motif of the loathly lady is that of a woman who appears unattractive (ugly = loathly) but undergoes a transformation upon being approached by a man in spite of her unattractiveness, becoming extremely desirable. It is then revealed that her ugliness was the result of a curse which was broken by the hero's action. The loathly lady (Welsh: dynes gas, Motif D732 in Stith Thompson's motif index), was a tale type or device commonly used in medieval literature, most famously in Geoffrey Chaucer's The Wife of Bath's Tale, in which a knight, told that he can choose whether his bride is to be ugly yet faithful, or beautiful yet false, frees the lady from the form entirely by allowing her to choose for herself. A variation on this story is attached to Sir Gawain in the related grail romances The Wedding of Sir Gawain and Dame Ragnelle and The Marriage of Sir Gawain.
Another name for a loathly lady is, of course, a hag. Hence, we see a hag appearing in the story of Perceval. However, there are three main women who appear in the Perceval grail story. The first is a beautiful young girl who carries the grail followed by another carrying a silver platter [MJF: etymologically driving from the word for “knee”]. The second is the girl in mourning, who admonishes him for not asking about the grail, as that would have healed the wounded king [MJF: was he symbolically wounded in the thigh like the Patriarch Jacob perhaps?]. The third, the hag, enters the court and admonishes Perceval once again for failing to ask the Fisher King whom the grail served. In this use of three women, we see the echo of the triple goddess theme once more. The admonishment of Perceval represents the failure of the young knight to ask the question who does the Grail serve as this would have healed Arthur the Fisher King, since, unless you ask that question, you will never escape your present 3D state and will remain in wounded blissful ignorance just like the Fisher King. To illustrate this point, here is what the C’s said about the Fisher King in the session dated 5 July 1997 session, which I quoted in the thread Session 13 March 2021 where there was a discussion about the issue of repeating time loops:
"Laura's suggestion of reading the romantic novels may help speed up the process of learning these karmic lessons in the short time we have left. Moreover, the C's have said this is the end of a grand cycle, which may well provide an opportunity for people to break out of the time loop once and for all."
Session dated 5 July 1997:
Q: Okay. I am not going to get into all of this, but I would like to know the significance of the Fisher King?
A: Do you mean of the person or of the designation?
Q: The designation, first.
A: The one who resides within a circular continuum.
Q: What about the significance of the person?
A: Transcendental.
Q: What is a circular continuum?
A: Trapped within the grasp of one's own significance, to the exclusion of the acquisition of a broader knowledge base and understanding."
The Grail therefore serves to dispense knowledge and wisdom allowing you to escape the circular continuum of ego in 3D reincarnation, which ties in with the kundalini awakening, the serpent fire that will trigger your dormant junk DNA and repair the DNA strands currently residing in the etheric realm. This makes sense if the Grail is a trans-dimensional crystal device such as Baphomet, the Merkabah Stone, which contact with will only serve to strengthen your abilities (see Part 2 below for more on this).
The Triple Goddess
A triple deity (sometimes referred to as threefold, tripled, triplicate, tripartite, triune or triadic, or as a trinity) is three deities that are worshipped as one. Such deities are common throughout world mythology. Carl Jung considered the arrangement of deities into triplets an archetype in the history of religion. In classical religious iconography or mythological art, three separate beings may represent either a triad who always appear as a group (Greek Moirai, Charites, Erinyes; Norse Norns; or the Irish Morrígan) or a single deity known from literary sources as having three aspects (Greek Hecate, Roman Diana. According to the linguist M. L. West, various female deities and mythological figures in Europe show the influence of pre-Indo-European goddess-worship, and triple female fate divinities, typically "spinners" of destiny, are attested all over Europe and in Bronze Age Anatolia [MJF: see also the Three Fates above.].
The Roman goddess Diana [Artemis to the Greeks] was venerated from the late sixth century BC as diva triformis, "three-form goddess", and early on was conflated with the similarly-depicted Greek goddess Hekate. Andreas Alföldi interpreted a late Republican numismatic image as Diana "conceived as a threefold unity of the divine huntress, the Moon goddess and the goddess of the nether world, “Hekate". This coin shows that the triple goddess cult image still stood in the lucus of Nemi in 43 BC. Spells and hymns in Greek magical papyri refer to the goddess (called Hecate, Persephone, and Selene, among other names) as "triple-sounding, triple-headed, triple-voiced..., triple-pointed, triple-faced, triple-necked". In one hymn, for instance, the "Three-faced Selene" is simultaneously identified as the three Charites, the three Moirai, and the three Erinyes; she is further addressed by the titles of several goddesses. Hans Dieter Betz notes: "The goddess Hekate, identical with Persephone, Selene, Artemis, and the old Babylonian goddess Ereschigal, is one of the deities most often invoked in the papyri.
The Roman goddess Diana [Artemis to the Greeks] was venerated from the late sixth century BC as diva triformis, "three-form goddess", and early on was conflated with the similarly-depicted Greek goddess Hekate. Andreas Alföldi interpreted a late Republican numismatic image as Diana "conceived as a threefold unity of the divine huntress, the Moon goddess and the goddess of the nether world, “Hekate". This coin shows that the triple goddess cult image still stood in the lucus of Nemi in 43 BC. Spells and hymns in Greek magical papyri refer to the goddess (called Hecate, Persephone, and Selene, among other names) as "triple-sounding, triple-headed, triple-voiced..., triple-pointed, triple-faced, triple-necked". In one hymn, for instance, the "Three-faced Selene" is simultaneously identified as the three Charites, the three Moirai, and the three Erinyes; she is further addressed by the titles of several goddesses. Hans Dieter Betz notes: "The goddess Hekate, identical with Persephone, Selene, Artemis, and the old Babylonian goddess Ereschigal, is one of the deities most often invoked in the papyri.
[MJF: With all these references, are we really just seeing echoes of Hagar/Kore and Nefertiti/Sarah? Is there also a hint here that the Holy Grail may be a three faced crystal skull, as was suggested for Baphomet by Philip Gardiner and Gary Osborn?]
Miranda Green observes that "triplism" reflects a way of "expressing the divine rather than the presentation of specific god-types. Triads or triple beings are ubiquitous in the Welsh and Irish mythic imagery" (she gives examples including the Irish battle-furies, Macha, and Brigit). "The religious iconographic repertoire of Gaul and Britain during the Roman period includes a wide range of triple forms: the most common triadic depiction is that of the triple mother goddess". In the case of the Irish Brigid it can be ambiguous whether she is a single goddess or three sisters, all named Brigid. The Morrígan also appears sometimes as one being, and at other times as three sisters, as do the three Irish goddesses of sovereignty, Ériu, Fódla and Banba.
Brigit, Brigid or Bríg (/ˈbrɪdʒɪd, ˈbriːɪd/, Old Irish, meaning 'exalted one') is a goddess of pre-Christian Ireland. She appears in Irish mythology as a member of the Tuatha Dé Danann, the daughter of the Dagda and wife of Bres, with whom she had a son named Ruadán.
As we have seen before, she is associated with wisdom, poetry, healing, protection, blacksmithing and domesticated animals. Cormac's Glossary, written in the 9th century by Christian monks, says that Brigid was "the goddess whom poets adored" and that she had two sisters: Brigid the healer and Brigid the smith. This suggests she may have been a triple deity. And as we have previously discovered, she is also thought to be related to the British Celtic goddess Brigantia.
[MJF: However, could Brigid have been Hagar the daughter of Nefertiti/Sarah - the Dagda, her husband Bres - Abraham and her son Ruadan - Ishmael?]
Brigit, Brigid or Bríg (/ˈbrɪdʒɪd, ˈbriːɪd/, Old Irish, meaning 'exalted one') is a goddess of pre-Christian Ireland. She appears in Irish mythology as a member of the Tuatha Dé Danann, the daughter of the Dagda and wife of Bres, with whom she had a son named Ruadán.
As we have seen before, she is associated with wisdom, poetry, healing, protection, blacksmithing and domesticated animals. Cormac's Glossary, written in the 9th century by Christian monks, says that Brigid was "the goddess whom poets adored" and that she had two sisters: Brigid the healer and Brigid the smith. This suggests she may have been a triple deity. And as we have previously discovered, she is also thought to be related to the British Celtic goddess Brigantia.
[MJF: However, could Brigid have been Hagar the daughter of Nefertiti/Sarah - the Dagda, her husband Bres - Abraham and her son Ruadan - Ishmael?]
Modern Wicca Traditions
In many modern Wiccan traditions, the Goddess takes a three-fold form, known as the Triple Goddess. Her individual aspects, known as the Maiden, the Mother, and the Crone, are aligned with the phases of the Moon’s cycle as it orbits the Earth — the waxing crescent, the Full Moon, and the waning crescent. These aspects also represent the three phases of a woman’s life in terms of physical reproduction — before, during, and after the body’s ability to have a child.
But while a woman will proceed linearly through these phases in a literal sense during her lifetime, each aspect of the Triple Goddess has qualities that all of us — male and female —resonate with at various points in our lives. Indeed, the three-fold form of the Goddess could be said to reflect the complexities of the human psyche, as well as the cycles of life and death experienced by all who dwell on Earth. Another example is the goddess Hera, who has three different roles in Greek mythology: Girl, Woman, and Widow.
But while a woman will proceed linearly through these phases in a literal sense during her lifetime, each aspect of the Triple Goddess has qualities that all of us — male and female —resonate with at various points in our lives. Indeed, the three-fold form of the Goddess could be said to reflect the complexities of the human psyche, as well as the cycles of life and death experienced by all who dwell on Earth. Another example is the goddess Hera, who has three different roles in Greek mythology: Girl, Woman, and Widow.
The Crone
As the Moon wanes and the darkness of the night sky grows, the Crone steps into her power. Called the “Hag” in earlier iterations of the Triple Goddess, she represents the post-childbearing years of life, and is associated with Autumn and Winter, sunset and night, and the winding down and ending of the growing season. The Crone is the wise elder aspect of the Goddess, and governs aging and endings, death and rebirth, and past lives, as well as transformations, visions, prophecy, and guidance.
You can see these themes reflected in the mythical aspects of Persephone, Demeter, Kore, Selene, Nyx, Hecate and Ariadne who are connected either to the seasons or to the night.
Although feared as an archetype for millennia, she is the one who reminds us that death is part of the life cycle, just as the Moon's dark phase precedes the New Moon. The Crone is often represented by goddesses associated with death and the underworld, such as the Greek Hecate, the Russian Baba Yaga, and the Celtic Morrigan and Cailleach Bear.
In her capacity as a quest-bringer, the loathly lady or crone can be found in much of the literature of the Holy Grail, not just Chrétien de Troyes’ Perceval but also Wolfram von Eschenbach's Parzival as well.
Perceval and Irish Legends
Wolfram von Eschebach’s Parzival, one of the greatest works of medieval Germany, is based largely on Chrétien's poem. When comparing Wolfram's Parzival to Chrétien's Perceval some scholars not only suggest that the structure is different, but that Chrétien focuses on the religious context of knighthood while Eschenbach focuses on other aspects. I hope to say a lot more about Parzival in a subsequent post, as there is a great deal of alchemical symbolism built into von Eschebach’s story.
However, from the perspective of our own quest, there are possible parallels in Perceval with the Irish mythological race of the Tuatha Dé Danann. This race of god like beings has three central talismans - a spear, a cauldron, and a sword - that correlate with the spear, grail, and sword present in Perceval. I don’t think this is any coincidence either as I hope to show in an upcoming post on the Tuatha De Danann.
Chrétien's Perceval includes many similarities to the Irish saga The Boyhood Deeds of Finn. The main character, Finn, is raised in isolation and undergoes many adventures akin to those of Perceval, suggesting that this narrative may have been a source of inspiration for Chrétien.
For more on the Loathly Lady and Irish and other legends connected to this theme, see: Loathly lady - Wikipedia.
Whether Gildoni intended to convey all of this in the images he concealed within his painting of John Dee (which only X-rays can bring out) is not something we can prove over a century later, since nobody knew of any of this until recently and, as far as anyone knows, Gildoni never left any comments or clues on the matter. Thus, at this removal in time we can now only speculate. However, there is one school of thought, which takes the view that artists may not always be completely aware of what they may be incorporating in their works when the muse takes hold of them. Having covered the old hag, it is now time to turn to the hidden skulls within the painting.
Continued in Part 2
You can see these themes reflected in the mythical aspects of Persephone, Demeter, Kore, Selene, Nyx, Hecate and Ariadne who are connected either to the seasons or to the night.
Although feared as an archetype for millennia, she is the one who reminds us that death is part of the life cycle, just as the Moon's dark phase precedes the New Moon. The Crone is often represented by goddesses associated with death and the underworld, such as the Greek Hecate, the Russian Baba Yaga, and the Celtic Morrigan and Cailleach Bear.
In her capacity as a quest-bringer, the loathly lady or crone can be found in much of the literature of the Holy Grail, not just Chrétien de Troyes’ Perceval but also Wolfram von Eschenbach's Parzival as well.
Perceval and Irish Legends
Wolfram von Eschebach’s Parzival, one of the greatest works of medieval Germany, is based largely on Chrétien's poem. When comparing Wolfram's Parzival to Chrétien's Perceval some scholars not only suggest that the structure is different, but that Chrétien focuses on the religious context of knighthood while Eschenbach focuses on other aspects. I hope to say a lot more about Parzival in a subsequent post, as there is a great deal of alchemical symbolism built into von Eschebach’s story.
However, from the perspective of our own quest, there are possible parallels in Perceval with the Irish mythological race of the Tuatha Dé Danann. This race of god like beings has three central talismans - a spear, a cauldron, and a sword - that correlate with the spear, grail, and sword present in Perceval. I don’t think this is any coincidence either as I hope to show in an upcoming post on the Tuatha De Danann.
Chrétien's Perceval includes many similarities to the Irish saga The Boyhood Deeds of Finn. The main character, Finn, is raised in isolation and undergoes many adventures akin to those of Perceval, suggesting that this narrative may have been a source of inspiration for Chrétien.
For more on the Loathly Lady and Irish and other legends connected to this theme, see: Loathly lady - Wikipedia.
Whether Gildoni intended to convey all of this in the images he concealed within his painting of John Dee (which only X-rays can bring out) is not something we can prove over a century later, since nobody knew of any of this until recently and, as far as anyone knows, Gildoni never left any comments or clues on the matter. Thus, at this removal in time we can now only speculate. However, there is one school of thought, which takes the view that artists may not always be completely aware of what they may be incorporating in their works when the muse takes hold of them. Having covered the old hag, it is now time to turn to the hidden skulls within the painting.
Continued in Part 2
moyal
Jedi Master
With this little exercise you can experience "the power" ma'at has over your body.
If you try to challenge ma'at - the result will be that you will fall on your nose.
Constant change is stabilitiy.
The significance of Maat developed to the point that it embraced all aspects of existence, including the basic equilibrium of the universe...
Maat - Wikipedia
en.wikipedia.org
Part 2 of John Dee and the 13 Crystal Skulls
The 13 Crystal Skulls Legend and Prophecy
The article then goes on:
The Ancient Aliens episode then provided more details about some of the better known crystal skulls.
The Mitchell-Hedges Skull
The Synergy Crystal Skull
The Amar Skull
Is it possible then that the Merkabah can act as a mother board for other skulls?
The Einstein Crystal Skull
For more information on the skull see: EINSTEIN CRYSTAL SKULL
In that piece on the skull the following statement is made:
True or not, what intrigues me about this is that the C’s had also referred to Einstein meaning “one stone” in the session dated 13 June 1998:
A: What does stein mean, is it "written in stone?"
Q: Stein as in 'grail,' and stone as in 'philosopher's'[stone]. So, maybe we are getting close.
A: What does Einstein mean?
Q: 'One stone.' And a stein is a cup and a stone at the same time. So, Triesen is in the 'beautiful countryside between the Rhine and the alpine world.' There is an alp called Lawena, nearby Lake Constance, and the Swiss canton of St. Gallen. You said something about being buried in 'Galle' and this seems to have all the related elements collected together... all the key words... so am I...
A: On the right track? It looks good.
Session dated 15 April, 2000
Q: (L) This is something I have always wanted to get into a session, but I keep forgetting it. So, I wrote it down so I wouldn't forget. What is a "Merkabah?" All these New Age types are talking about it all over the place, and I just want to know if the standard interpretation is anything close to the reality. What is a Merkabah?
A: A creative creation.
Q: (L) Are you saying...
A: As were...
Q: (L) You didn't let me finish my question!
A: We heard it in you.
Q: (L) Well, just to get the question on the record, it was - are all these people making all this stuff up about what the Merkabah is?
A: But then again, what is made up and why? It is not so simple!
Q: (L) In ancient literature, something called a Merkabah is talked about, but the definition of this extremely mysterious thing has been lost down through the centuries. There have been many "explanations" from such sources as the Midrash - Jewish commentaries - but there is even argument there. It seems that, even then, nobody knew what it was. But now, we have all these New Age folks coming along who have decided that they know what it is, and it is variously described as rotating double tetrahedrons...
A: If no one knows what it is, that is as good as any other explanation.
Q: (L) I want to know what the ancients who wrote about it meant? What is the definition of the word as the ancient writers used it?
A: The original definition predates this.
Q: (L) What is the original definition that predated the ancient writings that we have access to?
A: What do you think?
Q: (L) What? Well, it's a curious word because it is composed of two words or even three: mer kaba or mer ka ba. If we think of it as three part word, we have the Egyptian Ka, which is like the astral body, and the Ba which is similar to the Ka. I guess you could think of them as the astral body and the genetic body. Then there is the Ab which is the sort of principle element of the life in man - like the part that is of God or the soul. The Ab was represented as a red stone. It was the part of the man that expressed desire, lust, courage, wisdom, feeling, sense and intelligence. So, all of them together sort of expresses an abstract creative principle Kaaba is Arabic for cube, and it is the square stone building in which the Black Stone is housed in Mecca. It was supposed to have been built by Ishmael and Abraham. So with Mer, Ka, Ab, and Ba, we have a cube made up of the principle parts of the etheric self, and housing a stone. Soul stone? Mother stone?
A: By god, she's got it!
Q: (L) Okay, we've got the soul or mother stone. Or the mother of all stones. Now that we have a definition, what was it?
A: The Matriarch Stone.
Q: (L) Is the Matriarch Stone the one in Mecca?
A: Symbolism reigns supreme here.
Q: (T) Is this also the Philosopher's Stone?
A: "Stone" to those you perceive as ancients symbolized communication from "a higher source."
Q: (L) What is it about a stone that made the ancients associate it with communication?
A: Radio waves.
Q: (L) How did radio waves interact with the stone? Were they recorded by the stone; transmitted by the stone?
A: Transmission.
Q: (T) Crystals are stones. Crystals are used for radio transmissions.
A: Yes.
Q: (L) And it was said before that Stonehenge was a giant transmitter and receiver. The original purpose of Stonehenge was to receive communication and to send communication. It wasn't all that Druid HooDoo stuff that people talk about nowadays. It was a machine, so to speak. (Johan) Could it be that people who come in contact with a stone in one place, and then they go to another place and come in contact with another stone, transfer something from one stone to another?
A: Well, one strengthens their abilities due to awareness channel grooving.
Q: (L) What gets strengthened from contact with the stones?
A: Your abilities.
Q: (L) When they are talking about this Mother Stone, are they talking about something similar to the Atlantean crystals that gathered, dispersed and/or transduced energy?
A: It is more symbolic. But you are on the right track.
Q: (L) So, in talking about Merkabah, we are not talking about spinning tetrahedrons that enable you to ascend or generate some kind of "astral vehicle." They are saying that visualizing yourself inside of one of these enables you to ascend, or something.
A: If you do that, it may help, though.
Q: (L) It may help what?
A: We are going around in circles here. You should use your own abilities to complete the answers to some of these. But, then again, it is one form of "spinning," is it not?
Q: (T) Everything we have been doing here is all about gaining knowledge and increasing frequency in order to transit from 3rd to 4th density. In ancient times, they would have had to do the same things. But, there may not have been as many experiences available. In order to get experiences, they may have had to travel. So, by going to the stones, they might have increased their frequencies to transit from 3rd to 4th density.
(L) Or they used them as a direct machine or device to do it. Archaeologists say that the people who erected the megaliths were barbarians. They are defined as barbarians because they didn't build cities, they didn't have the wheel, they didn't have organized agriculture, and they left no written records. Those are the defined elements of civilization. Yet, this group of people, whoever they were, did things that we cannot duplicate today, and they did it all over the globe. The groups who came along after them who DID have all the hallmarks of what we call civilization, also could not erect these gargantuan stones.
I thought about this for a long time. Archaeologists say they must have erected them as monuments to their gods, or heroes or whatever. Some of them think they were calendars to tell them when to plant the corn. Well, I think that is stretching it a bit. If you can't cross off the days on the wall and look outside and see that it is time to plant the corn, you're in pretty sad shape. You hardly need to haul stones as big as buildings across hills and valleys to set them up in special places to tell you to do that!
The psychology of the human being cannot have changed all that much over the many thousands of years from then to now, and it is true that people do not do anything without a powerful motivation; what I call the "payoff." What could be the payoff to haul these things around on greased logs as they are depicted? To create a monument or to bury their kings? To get naked and dance in the moonlight?
(A) Like they had a lot of time to do this while struggling to live the barbarian existence, too!
(L) Yeah. They are supposed to be howling savages who must constantly hunt to get food, yet they are spending all their time, occupying all their strongest men, to push rocks around! Meanwhile, according to the archaeologists and paleontologists, these folks only live to about 40 years at max!
(T) They got a lot of mileage out of those 40 years!
(L) Exactly! But, we are supposed to be thinking about the things they didn't have: cities, wheels, agriculture, and writing.
(F) Maybe they didn't need it.
(L) And why would that be? Because the stones did it all!
T) Maybe they were 4th density STO beings who planted all those stones all over the place.
(L) Well, if you think about a group of people who are setting up these massive stones like they were pieces of styrofoam. The stones collect energy and information. They then transduce the energy or amplify it. These people know things about movement, dances or spinning or something, that enables them to behave in concert with the stones so that they all become part of a grand machine that does things! All of the legends talk about stylized dances and the oldest things about Stonehenge say that it was the Temple of Apollo and that Apollo danced there all night at certain periods of time. Every 19 years, I believe. When you think about that, and the other places Apollo appeared, the inversions and redactions of the legends, and we come to these magical stones that produce things. Then we come to the head of Bran the Blessed which supposedly produced endless supplies of bread and fish or whatever else was desired. Bran's head was the giver of all good things. But more than that, it was an oracle. It could speak. And here we have the idea of a similar function for Stonehenge: both an oracle as well as a giver of blessings and bounty. Anything you wanted or needed it provided for you. If you wanted to go somewhere, it transported you as in the legends of the flying carpets. It was magic transportation. All of these things are associated, when you track them back far enough, with a stone. The stones did everything.
(Johan) And it is funny that stones come up. What I have been doing for the past 10 or 15 years is running around the globe collecting stones. I've been to some of the most ancient places on earth, and I go from one to the other. And from each one, I've collected stones. Plus, Apollo: on Crete, there was an oracle of Apollo on Tara...
(L) And there was Tara in Ireland...
(Johan) I wouldn't be surprised if Tara meant stone too! How is all this connected?
(L) Exactly. This is what I have always thought about these megaliths. They DID things. All of the things we think are the "signs" of civilization were done by the stones. Maybe Terry is right; these people were at some level of density where they could make this work. At some point, something happened, the ability was lost, and then people had to build cities, engage in agriculture, invent the wheel, and develop writing - because they could no longer do it the "easy" way.
(Johan) In talking about stones, would the mother of all stones be the navel of the earth; is that the same as Ayers rock? It's the largest stone on earth and they call it the navel of the earth.
(L) Does Ayers rock have anything to do with this?
A: No. Stones were once utilized to provide for all needs, as the energies transmitted connected directly with the pituitary gland to connect spiritual realities with the material realms of 3rd and 4th densities. So you see, the "stone" was viewed as Matriarchal indeed!
Q: (L) Were the beings involved in this type of activity 3rd density, 4th density or bi-density?
A: Originally 4th when home was in other locators.
Q: (L) Could it be said that the pituitary gland itself is the body's own "mother stone?"
A: If you prefer. We suggest a new path now.
[ ]
Q: (Johan) What was it that I found on the beach on Magnetic Island in 1985?
A: Looking for meaning? Start at the centre.
Q: (Johan) Center of Australia? Center of what?
A: You have been to the "centre."
Q: (Johan) I am not too sure that this means a physical place. For me, what I found was the center of knowledge. It started at Magnetic Island, and took 12 years for me to realize what it meant. For me it was the grail or the representation of the grail.
A: You have the stem, now wait for the flower to "bloom." [MJF: This could be a reference to the 8 petal lotus flower and the manadala of Eastern philosophy.]
Q: (Johan) And now I am going to be back in the same place! Is the flower going to bloom where I found the stem?
A: The locator is not so important as the located. [MJF: This appears to be a reference perhaps to going to one’s own core or centre as located in the Thalamus, at the centre of the brain, and the blooming is experienced when achieving a Kundalini awakening – the serpent fire and the personal Holy Grail for all of us.]
Q: (L) Where you find it is not so important as what you found. (Johan) Yes, that's true. I don't know what your story is with the Holy Grail, but for me, it took me twelve years to understand what I found which was my interpretation of what the Grail was - it represented it. That's interesting with the bloom...
A: We thrive on clues and so do you!
[ ]
Q: (Johan) Sharing information is something I have been involved with for many years...
A: But this process is expanding naturally anyway due to the exponential growth in your technology. And this, by the way, is an integral component in the eventual transition to 4th density. Not because of the technology, but the explosion of the knowledge base it is/will facilitate.
Q: (J) What exactly is the function of the pituitary gland in your references to Stonehenge?
A: This gland is your uplink.
Q: (L) Is it possible that the pituitary can be stimulated by external sources such as radio waves, waves from a supernova, or other frequencies in the environment?
A: Yes and experiments have ensued.
Q: (L) Would it be beneficial for us to experiment with such things?
A: Not wise. You could fry yourself in your zeal.
Q: (J) Are you guys actually channelling through your pituitary via radio waves?
A: This channelling process is comprehensive. Spiritual/psychic/physical.
Q: (L) I guess we aren't supposed to do any experimentation with it though.
A: You can experiment, but not technologically.
The 13 Crystal Skulls Legend and Prophecy
I came across an interesting website dealing with the subject of crystal skulls that may indirectly shed some light on why Gildoni originally depicted John Dee surrounded by a circle of skulls in his painting. https://www.crystalskulls.com/13-crystal-skulls.htm.
I was also lucky enough to catch a repeat of the Ancient Aliens episode on the Crystal Skulls, which gave me even more useful material to bring to the party here.
The subject of crystal skulls only came to public attention in the late 19th Century. There is evidence for a trade in supposedly pre-Columbian Mesoamerican crystal skull artefacts from the latter half of the 19th Century onwards. Indeed, a lot of this trading was linked to Eugène Boban, a Parisian antiquities dealer, who opened his shop in Paris in 1870. He is most associated with 19th-century museum collections of crystal skulls. It is therefore possible that Gildoni may have learned of the existence of these skulls from the circles he moved in and sought to link John Dee with them. That being said, Gildoni may simply have painted the skulls for effect and then changed his mind and painted over them, either on his own volition or at the request of the person who commissioned the work.
If you go to the Wikipedia page for crystal skulls, you will see that they take a very sceptical view of the whole subject, deeming all such skulls to be 19th Century fakes, primarily manufactured in Germany, quite likely at workshops in the town of Idar-Oberstein, which was renowned for crafting objects made from imported Brazilian quartz in the late 19th Century. See: Crystal skull - Wikipedia
All well and good then, nothing to see here, just move on folks! However, the C’s took a different view. When Laura raised the subject of Mayan crystal skulls, they said the skulls were used for soul reflection. Moreover, many of these supposedly Mesoamerican skulls are made of quartz crystal. As presenters on the Ancient Aliens episode pointed out, it is impossible to date quartz, so there is no way of really telling how old such artefacts are. They could even be pre-Deluge, Atlantian objects as some Maya have claimed. We know from the C’s that the Atlantians were masters of crystal technology. Wikipedia cites that research carried out on several crystal skulls at the British Museum in 1967, 1996 and 2004 shows that the indented lines marking the teeth (for these skulls had no separate jawbone, unlike the Mitchell-Hedges skull) were carved using jeweller’s equipment (i.e., rotary tools) developed in the 19th century, making a pre-Columbian origin untenable. This may be true of the skulls the Museum has tested but it need not be the case for all such skulls. The Museum also claimed that the type of crystal used was determined by examination of chlorite inclusions. Apparently, it is only found in Madagascar and Brazil, and thus unobtainable or unknown within pre-Columbian Mesoamerica. However, this is a big assumption. Brazil is not exactly a million miles from Central America and we have no proper idea of how extensive Mayan trading was at the peak of their empire. Indeed, archaeologists are only just beginning to discover the wide scope of ancient Brazilian settlements within the Amazon jungle, so who is to say there were not trading links between Brazilian towns and Mayan cities in antiquity. Moreover, if some of these skulls are in fact pre-Deluge in provenance, then the Museum’s research findings will lack credibility.
Quoting directly from the Crystal Skulls.com website:
There are very few legends that cross over cultures and times the way the crystal skull legends do. They are contemporarily shared by the Mayans, The Aztecs, the Native Americans and other indigenous people around the world (and in philosophical terms, they are recorded in Atlantean and Lemurian Times). These legends have been handed down from generation to generation for thousands of years, which attests to their enduring power.
The legend of the "Great Flood", which was passed down from ancient times, is one of the few enduring legends that is also shared by most cultures around the world - which scientists now confirm was real. While that event marked "an end time" for many people around the world, there may be some parallels to the Mayan Legends regarding 2012.
The more you learn about crystal skulls, the more you realize the power of multiple crystal skulls. There are many cultures that have legends about crystal skulls, sometimes involving different numbers of crystal skulls. However, "thirteen crystal skulls" seems to be the common denominator among most crystal skull legends.
I was also lucky enough to catch a repeat of the Ancient Aliens episode on the Crystal Skulls, which gave me even more useful material to bring to the party here.
The subject of crystal skulls only came to public attention in the late 19th Century. There is evidence for a trade in supposedly pre-Columbian Mesoamerican crystal skull artefacts from the latter half of the 19th Century onwards. Indeed, a lot of this trading was linked to Eugène Boban, a Parisian antiquities dealer, who opened his shop in Paris in 1870. He is most associated with 19th-century museum collections of crystal skulls. It is therefore possible that Gildoni may have learned of the existence of these skulls from the circles he moved in and sought to link John Dee with them. That being said, Gildoni may simply have painted the skulls for effect and then changed his mind and painted over them, either on his own volition or at the request of the person who commissioned the work.
If you go to the Wikipedia page for crystal skulls, you will see that they take a very sceptical view of the whole subject, deeming all such skulls to be 19th Century fakes, primarily manufactured in Germany, quite likely at workshops in the town of Idar-Oberstein, which was renowned for crafting objects made from imported Brazilian quartz in the late 19th Century. See: Crystal skull - Wikipedia
All well and good then, nothing to see here, just move on folks! However, the C’s took a different view. When Laura raised the subject of Mayan crystal skulls, they said the skulls were used for soul reflection. Moreover, many of these supposedly Mesoamerican skulls are made of quartz crystal. As presenters on the Ancient Aliens episode pointed out, it is impossible to date quartz, so there is no way of really telling how old such artefacts are. They could even be pre-Deluge, Atlantian objects as some Maya have claimed. We know from the C’s that the Atlantians were masters of crystal technology. Wikipedia cites that research carried out on several crystal skulls at the British Museum in 1967, 1996 and 2004 shows that the indented lines marking the teeth (for these skulls had no separate jawbone, unlike the Mitchell-Hedges skull) were carved using jeweller’s equipment (i.e., rotary tools) developed in the 19th century, making a pre-Columbian origin untenable. This may be true of the skulls the Museum has tested but it need not be the case for all such skulls. The Museum also claimed that the type of crystal used was determined by examination of chlorite inclusions. Apparently, it is only found in Madagascar and Brazil, and thus unobtainable or unknown within pre-Columbian Mesoamerica. However, this is a big assumption. Brazil is not exactly a million miles from Central America and we have no proper idea of how extensive Mayan trading was at the peak of their empire. Indeed, archaeologists are only just beginning to discover the wide scope of ancient Brazilian settlements within the Amazon jungle, so who is to say there were not trading links between Brazilian towns and Mayan cities in antiquity. Moreover, if some of these skulls are in fact pre-Deluge in provenance, then the Museum’s research findings will lack credibility.
Quoting directly from the Crystal Skulls.com website:
There are very few legends that cross over cultures and times the way the crystal skull legends do. They are contemporarily shared by the Mayans, The Aztecs, the Native Americans and other indigenous people around the world (and in philosophical terms, they are recorded in Atlantean and Lemurian Times). These legends have been handed down from generation to generation for thousands of years, which attests to their enduring power.
The legend of the "Great Flood", which was passed down from ancient times, is one of the few enduring legends that is also shared by most cultures around the world - which scientists now confirm was real. While that event marked "an end time" for many people around the world, there may be some parallels to the Mayan Legends regarding 2012.
The more you learn about crystal skulls, the more you realize the power of multiple crystal skulls. There are many cultures that have legends about crystal skulls, sometimes involving different numbers of crystal skulls. However, "thirteen crystal skulls" seems to be the common denominator among most crystal skull legends.
Crystal Skull Legend
Native American Cherokee Medicine Man, Harley Swift-Deer Reagan, is quoted as saying: "The skulls were kept inside a pyramid in a formation of tremendous power known as the Ark. The Ark was comprised of the twelve skulls from each of the sacred planets kept in a circle, with the thirteenth skull, the largest, placed in the centre of this formation. This thirteenth skull represents the collective consciousness of all the worlds. It connects up the knowledge of all the sacred planets.”
Today we think of there being eight planets in our solar system, ever since Pluto was relegated to minor planet status, However, the C’s have made us aware that there are in fact 12 planets in our solar system including Pluto. They even named them all for us. Hence, it is possible that there could at one stage have been 12 crystal skulls representing each planet in our solar system. That then leaves one skull remaining. Could this skull have been just a coordinating skull for the other twelve or did it also represent a planet once. Well there was another planet in our solar system and that planet we now know as Kantek. We also know that a group of Kantekkians brought a Merkabah or Matriarch Stone to Earth with them before that planet exploded and we think that stone may have been a pure crystal skull, which the Knights Templar called Baphomet.
Today we think of there being eight planets in our solar system, ever since Pluto was relegated to minor planet status, However, the C’s have made us aware that there are in fact 12 planets in our solar system including Pluto. They even named them all for us. Hence, it is possible that there could at one stage have been 12 crystal skulls representing each planet in our solar system. That then leaves one skull remaining. Could this skull have been just a coordinating skull for the other twelve or did it also represent a planet once. Well there was another planet in our solar system and that planet we now know as Kantek. We also know that a group of Kantekkians brought a Merkabah or Matriarch Stone to Earth with them before that planet exploded and we think that stone may have been a pure crystal skull, which the Knights Templar called Baphomet.
The article then goes on:
Elements of the 13 crystal skulls legend
The basic elements of the 13 crystal skulls legend is that at a pivotal time in humanity's history, the 13 crystal skulls will be reunited to awaken a new era - transforming from an old paradigm into a new world.
Patricio Dominguez - Pueblo Spiritual Advisor: "The crystal skulls are complete depositories of knowledge and each skull contains a particular specialist area of information - like a living library [each skull is like one volume in a set of encyclopedias]. And the people who will in the future be able to 'read' the crystal skulls will only be able to extract all the knowledge from the skulls once they are all assembled together... Of course, the knowledge that is going to come out from the skulls is quite unimaginable to our current minds. But that it is definitely going to come out at a certain time is already foregone. It has been prophesied. But whether we humans then use that knowledge for good or for our own destruction is really down to our preparations."
Patricio Dominguez - Pueblo Spiritual Advisor: "The crystal skulls are complete depositories of knowledge and each skull contains a particular specialist area of information - like a living library [each skull is like one volume in a set of encyclopedias]. And the people who will in the future be able to 'read' the crystal skulls will only be able to extract all the knowledge from the skulls once they are all assembled together... Of course, the knowledge that is going to come out from the skulls is quite unimaginable to our current minds. But that it is definitely going to come out at a certain time is already foregone. It has been prophesied. But whether we humans then use that knowledge for good or for our own destruction is really down to our preparations."
The Mayans and the 13 crystal skulls
Many believe that there is a strong connection between the crystals skulls, the Mayans and the Mayan Calendar ending in December 2012. While there is a current belief that more than 13 ancient crystal skull exist (some say 52, or 4 sets of 13), in recent years, the Mayans have spearheaded a grand reunion of North America's indigenous chiefs in an effort to unite forces towards the commonly foreseen future as recounted by the Mayan elders.
According to Grand Elder Don Alejandro Cirilo Oxlaj Perez, head of the National Council of Maya Elders, a 13th generation Quiche Maya Spiritual Leader: "... The prophecy says now is the time of the awakening. This is your job now, to awaken. The Vale of the Nine Hells is past and the Time of Warning has now arrived. It is time to prepare for the Age of the Thirteen Heavens. The time of 12 Baktun and 13 Ahau is fast approaching, and they shall be here among you to defend Mother Earth. The prophecy says, 'Let the dawn come. Let all the people and all the creatures have peace, let all things live happily', for the love must not only be between humans, but between all living things. They said, 'We are the children of the sun, we are the children of time and we are the travellers in space. May all the songs awaken, may all the dancers awaken. May all the people and all things live in peace for you are the valleys, you are the mountains, you are the trees, you are the very air you breathe'....Now is the time of return of the grandmothers and grandfathers. Now is the time of the return of the elders. Now is the time of the return of the wise ones. And the wise ones are all of you. Now is the time to go out into the world and spread the light. The sacred flame has been kept for this purpose and now the time approaches when you will be required to love all things, to love a world that has gone crazy, to rebalance the heavens and the Earth. For the Time of Warning has come to pass and the Warriors of the Rainbow are now beginning to be born. The Vale of Tears, the Nine Hells, is over and it is time to prepare for the 13 Heavens. The ancestors are returning, my brothers and sisters, and we do not have long. Now is the time that the prophecies will be fulfilled."
According to Grand Elder Don Alejandro Cirilo Oxlaj Perez, head of the National Council of Maya Elders, a 13th generation Quiche Maya Spiritual Leader: "... The prophecy says now is the time of the awakening. This is your job now, to awaken. The Vale of the Nine Hells is past and the Time of Warning has now arrived. It is time to prepare for the Age of the Thirteen Heavens. The time of 12 Baktun and 13 Ahau is fast approaching, and they shall be here among you to defend Mother Earth. The prophecy says, 'Let the dawn come. Let all the people and all the creatures have peace, let all things live happily', for the love must not only be between humans, but between all living things. They said, 'We are the children of the sun, we are the children of time and we are the travellers in space. May all the songs awaken, may all the dancers awaken. May all the people and all things live in peace for you are the valleys, you are the mountains, you are the trees, you are the very air you breathe'....Now is the time of return of the grandmothers and grandfathers. Now is the time of the return of the elders. Now is the time of the return of the wise ones. And the wise ones are all of you. Now is the time to go out into the world and spread the light. The sacred flame has been kept for this purpose and now the time approaches when you will be required to love all things, to love a world that has gone crazy, to rebalance the heavens and the Earth. For the Time of Warning has come to pass and the Warriors of the Rainbow are now beginning to be born. The Vale of Tears, the Nine Hells, is over and it is time to prepare for the 13 Heavens. The ancestors are returning, my brothers and sisters, and we do not have long. Now is the time that the prophecies will be fulfilled."
The Timelessness of Crystal Skulls
Although quartz is used to maintain accuracy in timepieces, there is no accurate way to measure time when it comes to quartz and crystal skulls. The Earth is crystalline, and quartz crystal is the most abundant mineral in the Earth’s crust. Some of the oldest known rocks on the planet have quartz in them, which are about 3.8 billion year old. Quartz is ancient, and there is currently no way to date the age of quartz itself because it cannot be carbon dated.
The only way that science can currently attempt to determine the age of a crystal skull is to examine it microscopically to find the markings that indicate what type of tool was used to carve it. Quartz is one of the hardest minerals on Earth – only diamond, topaz and sapphire are harder. The creation of diamond tools allowed quartz to be carved faster and more precisely and also allowed for a smoother polish. Use of these diamond tools determines whether a crystal skull is considered to be new, old or ancient.
In ancient times, it would have taken years, decades, or even generations to carve a crystal skull, depending on its size. Hammers, chisels, and various stone or metal tools were originally used to carve crystal. Ancient civilizations also fashioned hand tools such as a bow drill, which was used to carve seals in the Himalayas dating back to 650 A.D. (the markings on the Tibetan Crystal Skull Amar are those of being carved by hand using a primitive bow drill – it is estimated that this large crystal skull would have taken decades to carve). The ancients used various abrasives such as sand to polish crystal skulls – some even used human hair to polish the crystal with the intention of infusing the skull with their wisdom and knowledge through this process, which often took generations.
Crystal skulls are amplifiers and generators of energy, and also store information like computers. A new crystal skull is much like a new computer – it is only imprinted with basic programs of the energetic properties of the stone it is carved from. It has also absorbed energies from the carver, and from anyone who has handled it. Crystal skulls can be imprinted with this energy simply by contact, and they can also be programmed with intention and consciousness.
This last point is something the C’s have advocated as well.
The only way that science can currently attempt to determine the age of a crystal skull is to examine it microscopically to find the markings that indicate what type of tool was used to carve it. Quartz is one of the hardest minerals on Earth – only diamond, topaz and sapphire are harder. The creation of diamond tools allowed quartz to be carved faster and more precisely and also allowed for a smoother polish. Use of these diamond tools determines whether a crystal skull is considered to be new, old or ancient.
In ancient times, it would have taken years, decades, or even generations to carve a crystal skull, depending on its size. Hammers, chisels, and various stone or metal tools were originally used to carve crystal. Ancient civilizations also fashioned hand tools such as a bow drill, which was used to carve seals in the Himalayas dating back to 650 A.D. (the markings on the Tibetan Crystal Skull Amar are those of being carved by hand using a primitive bow drill – it is estimated that this large crystal skull would have taken decades to carve). The ancients used various abrasives such as sand to polish crystal skulls – some even used human hair to polish the crystal with the intention of infusing the skull with their wisdom and knowledge through this process, which often took generations.
Crystal skulls are amplifiers and generators of energy, and also store information like computers. A new crystal skull is much like a new computer – it is only imprinted with basic programs of the energetic properties of the stone it is carved from. It has also absorbed energies from the carver, and from anyone who has handled it. Crystal skulls can be imprinted with this energy simply by contact, and they can also be programmed with intention and consciousness.
This last point is something the C’s have advocated as well.
13 Crystal Skulls Sets
The fundamental elements of the 13 crystal skulls legend is that at a pivotal time in humanity's history, the 13 crystal skulls will be reunited to awaken a new era - transforming from an old paradigm into a new world. These legends have been handed down from generation to generation for thousands of years, which attests to their enduring power.
When crystal skulls are put together, you can feel the intensity of the power in the room. When they are placed in a circle of 12, this matrix creates a powerful resonant field at an extremely high vibrational frequency. When a 13th crystal skull is added, it augments eveything exponentially.
When crystal skulls are put together, you can feel the intensity of the power in the room. When they are placed in a circle of 12, this matrix creates a powerful resonant field at an extremely high vibrational frequency. When a 13th crystal skull is added, it augments eveything exponentially.
A Legend set in stone...
To guard against destruction or subversion, people built 12 corresponding Bibles in "stone" and located them throughout the Motherland. In order to bring them together under one head, thus making the precepts everlasting, they built The Great Pyramid...
It would last forever, not only as a beacon that would hold high the light, but as a reflector for that light. It not only reflected the light but gave forth the oft-repeated command, 'if Humanity has lost the light, go within; there you will find recorded the precepts that will renew the light so that it may shine forth from you..."
Excerpt from 'Life and Teachings of The Masters of the Far East' by Baird Spalding - from the travels to India and Tibet of a research party of 11 scientists in 1894.
It would last forever, not only as a beacon that would hold high the light, but as a reflector for that light. It not only reflected the light but gave forth the oft-repeated command, 'if Humanity has lost the light, go within; there you will find recorded the precepts that will renew the light so that it may shine forth from you..."
Excerpt from 'Life and Teachings of The Masters of the Far East' by Baird Spalding - from the travels to India and Tibet of a research party of 11 scientists in 1894.
12 CRYSTAL SKULLS (12+1)
Ancient Mayan Legends speak of 12 crystal skulls coming together with a 13th crystal skull in the middle. This dynamic energy of 12+1 is truly transformational. With 12 mini crystal skulls in a circle, you can manifest enhanced joy and fulfilment in every area of your life.
You can place these 12 crystal skulls around your own crystal skull to enhance its power and energy - your crystal skull becomes the 13th crystal skull in the centre. Or you can place the 12 mini clear crystal skulls around you to support you to feel energized, empowered and inspired, especially during your meditations - essentially making you the 13th crystal skull in the centre.
Could this be what Gildoni was trying to represent with the skulls encircling John Dee?
You can place these 12 crystal skulls around your own crystal skull to enhance its power and energy - your crystal skull becomes the 13th crystal skull in the centre. Or you can place the 12 mini clear crystal skulls around you to support you to feel energized, empowered and inspired, especially during your meditations - essentially making you the 13th crystal skull in the centre.
Could this be what Gildoni was trying to represent with the skulls encircling John Dee?
THE POWER OF TWELVE
The number 12 has been held sacred since ancient times all over the globe – indeed, it has formed the basis for how most of us live our lives in the world today. There are 12 months in the year and 12 signs of the zodiac. The days are divided into 12 hours of day and 12 hours of night – with watches and clocks displaying 12-hour periods.
Ancient numbering and measuring systems that we still use today are based on the number twelve: there are 12 inches in a foot, 12 units to a dozen, a gross is 12 times 12, and there are 12 ounces in a Troy ounce (used for precious metals). In North America, our legal system is decided by a jury of 12 people.
The number 12 has also played an important role as a divine number in many of the world's great religions. There were 12 Apostles as disciples of Christ, 12 Tribes in Israel, 12 great Gods of ancient pantheons in Greece, 12 Nidanas in Buddhism, and the Qabbalah says that creation was accomplished during 12 hours of a day. There are 12 days of Christmas, and by divine design, there are normally 12 pairs of ribs in the human body.
Crystal skulls become even more powerful when they are together with other crystal skulls - this is why people are drawn to crystal skull gatherings and are called to be guardians of many crystal skulls. Different crystal skulls have different frequencies and vibrations, and create harmonious energy together, like keys on a keyboard. However, when working with grid formations, we have found that it is easier to attune to specific frequencies when the crystal skulls are all of the same size and same stone - particularly quartz, which has the highest vibration and can be attuned most precisely (like a crystal radio).
Ancient numbering and measuring systems that we still use today are based on the number twelve: there are 12 inches in a foot, 12 units to a dozen, a gross is 12 times 12, and there are 12 ounces in a Troy ounce (used for precious metals). In North America, our legal system is decided by a jury of 12 people.
The number 12 has also played an important role as a divine number in many of the world's great religions. There were 12 Apostles as disciples of Christ, 12 Tribes in Israel, 12 great Gods of ancient pantheons in Greece, 12 Nidanas in Buddhism, and the Qabbalah says that creation was accomplished during 12 hours of a day. There are 12 days of Christmas, and by divine design, there are normally 12 pairs of ribs in the human body.
Crystal skulls become even more powerful when they are together with other crystal skulls - this is why people are drawn to crystal skull gatherings and are called to be guardians of many crystal skulls. Different crystal skulls have different frequencies and vibrations, and create harmonious energy together, like keys on a keyboard. However, when working with grid formations, we have found that it is easier to attune to specific frequencies when the crystal skulls are all of the same size and same stone - particularly quartz, which has the highest vibration and can be attuned most precisely (like a crystal radio).
THE SACRED CIRCLE
Circles have also been sacred throughout ancient cultures around the world – the ancients knew the power of the circle to focus and harness energy. The ancient druids and celts arranged standing stones in sacred circles, like the one at Stonehenge. Religious devotees often walked circular labyrinths, like the one at Chartres for profound reverence and meditative pilgrimages.
Native Americans use stones in a circle to create a sacred medicine wheel. Tibetans create mandalas with circles that signify levels of consciousness – the word “mandala” in Tibetan means center and periphery, i.e. a circle. Tantric Buddhism views the mandala as a symbol of man's relationship with the cosmos and uses it in meditation to lead to enlightenment.
The word mandala is a Sanskrit term that means “sacred circle” or “magic circle”. The mandala symbolizes wholeness: the circle of eternity. In sacred geometry, the circle represents the spiritual realms
Native Americans use stones in a circle to create a sacred medicine wheel. Tibetans create mandalas with circles that signify levels of consciousness – the word “mandala” in Tibetan means center and periphery, i.e. a circle. Tantric Buddhism views the mandala as a symbol of man's relationship with the cosmos and uses it in meditation to lead to enlightenment.
The word mandala is a Sanskrit term that means “sacred circle” or “magic circle”. The mandala symbolizes wholeness: the circle of eternity. In sacred geometry, the circle represents the spiritual realms
WHY TWELVE CRYSTAL SKULLS?
We have found that a circle of twelve crystal skulls of the same size, shape, and stone creates a synergistic and harmonious energy that amplifies the power of the crystal skulls. One can use any twelve crystal skulls, but when they are carved of the same type of stone, it creates a powerful matrix that seems to become a portal to higher frequencies and dimensions of consciousness and experience.
For anyone who is sensitive and aware of energies, one can perceive a great difference in energy when you create a circle of crystal skulls - particularly when there are 12 crystal skulls in a circle. There is also a tremendous difference in energy when these crystal skulls are all the same stone, particularly of the same size and shape. The effect is one of increased power, balance and harmony that creates a sacred space and a vortex for energizing and manifestation.
Twelve skulls of the same size and stone create a synergistic matrix to focus and charge energy. Placing anything within this circle amplifies and intensifies the focus, energy and power of your intention. There are many ways one can use this matrix of 12 crystal skulls in a sacred circle for healing, meditating and manifesting.
For anyone who is sensitive and aware of energies, one can perceive a great difference in energy when you create a circle of crystal skulls - particularly when there are 12 crystal skulls in a circle. There is also a tremendous difference in energy when these crystal skulls are all the same stone, particularly of the same size and shape. The effect is one of increased power, balance and harmony that creates a sacred space and a vortex for energizing and manifestation.
Twelve skulls of the same size and stone create a synergistic matrix to focus and charge energy. Placing anything within this circle amplifies and intensifies the focus, energy and power of your intention. There are many ways one can use this matrix of 12 crystal skulls in a sacred circle for healing, meditating and manifesting.
The Ancient Aliens episode then provided more details about some of the better known crystal skulls.
The programme claimed that people had found twelve of the thirteen crystal skulls that are relevant to the legend. I can’t prove or disprove this, of course, but if we accept it as true, then the 13th skull is most probably the Merkabah Stone or Holy Grail.
The programme spoke of the skulls’ ancient origins and that they were known of in pre-historic times and were the remnants of a lost civilisation without really producing any evidence for this. They also promoted the same claim that if all 13 skulls are reunited it will create a knowledge grid or network that will help to unite humanity at its darkest hour. Again they claimed that each skull represented one planet in the solar system but not the 13th skull. Hence, they made no connection with the fact that it could have represented the former planet Kantek.
The programme spoke of the skulls’ ancient origins and that they were known of in pre-historic times and were the remnants of a lost civilisation without really producing any evidence for this. They also promoted the same claim that if all 13 skulls are reunited it will create a knowledge grid or network that will help to unite humanity at its darkest hour. Again they claimed that each skull represented one planet in the solar system but not the 13th skull. Hence, they made no connection with the fact that it could have represented the former planet Kantek.
The Mitchell-Hedges Skull
The Wikipedia entry takes the view that the Mitchell-Hedges Skull is definitely a fake. However, the programme took a more positive view on its provenance and reputed qualities. The skull was supposed to have been found in Lubaantun, Belize (then known as British Honduras) during an excavation by F.A. Mitchell-Hedges. The skull is claimed to be at least 3,600 years old. However, recent evidence has come to light showing that F.A. Mitchell-Hedges purchased the skull at a Sotheby’s auction in London on October 15, 1943. The skull was subsequently examined at Hewlett-Packard's crystal laboratories in Santa Clara, California, where it was subjected to several tests. The labs determined only that it was not a composite as had been supposed, but that it was fashioned from a single crystal of quartz. The laboratory test also established that the lower jaw had been fashioned from the same left-handed growing crystal as the rest of the skull. No investigation was made by Hewlett-Packard as to its method of manufacture or dating. In the programme, it was claimed that one scientist had said that it should not even exist. During the programme, claims were made that the skull could light up a dark room and psychic phenomenon abound when it is present. It was also claimed that local Mayans had told Mitchell-Hedges that their ancestors (suggesting aliens) had given the skull to them. In conclusion, there is no definitive evidence that the skull was ever found in Belize and, although interesting, it could be a modern fake.
The Synergy Crystal Skull
This skull is claimed to have originated in Micronesia and was passed to the local aboriginals as a legacy and was originally part of a pair. It subsequently was transferred to Hawaii and from there to Easter Island before being given to a young nun in Peru in 1600. The skull is supposed to contain the supernatural energy of maana. The skull’s origin is linked with the legend of two brothers who descended from the sky and established a golden age for the aboriginals. The skull was used for divination purposes by the natives.
The programme’s presenter then linked this idea of divination with the Roman invasion of Anglesey in Wales in 60 AD. The island was the last druid stronghold in Roman occupied Britain. The programme established that the druids had used crystals for divination and the Scots (Caledonians or Picts) had called them ‘stones of power’.
It was pointed out that crystal has a special lattice structure that allows for communication that is two-way and can be inter-dimensional in nature. The C’s have confirmed that crystals were used for radio wave transmissions (see below for more on this). Indeed, I can remember my late father, an electrical engineer, building his own crystal radio set in the 1960’s.
The programme’s presenter then linked this idea of divination with the Roman invasion of Anglesey in Wales in 60 AD. The island was the last druid stronghold in Roman occupied Britain. The programme established that the druids had used crystals for divination and the Scots (Caledonians or Picts) had called them ‘stones of power’.
It was pointed out that crystal has a special lattice structure that allows for communication that is two-way and can be inter-dimensional in nature. The C’s have confirmed that crystals were used for radio wave transmissions (see below for more on this). Indeed, I can remember my late father, an electrical engineer, building his own crystal radio set in the 1960’s.
The Amar Skull
The programme then switched to Lhasa Tibet and the skull called Amar that was owned by Tibetan lamas that was used for healing and meditation purposes. The 22-pound crystal skull had to be smuggled out of Tibet to Nepal when the Chinese invaded Tibet in the 1950’s. Amar is presently cared for in a peaceful spiritual sanctuary in North America.
Apparently, “Amar” in Hebrew means: to say, to speak or to utter. Amar in Hindi is a common Indian name meaning "immortal" or "deathless". Amar in Aramaic means: to say, speak, to command, to tell or to relate. AMAR in Spanish means: to love. Hence, there is a strong indication in the name that the skull is linked with communication or divination.
Going from peace loving Tibetan lamas to Nazis, the programme then claimed that Heinrich Himmler had procured a crystal skull, which was subsequently discovered in the home of an ex-SS officer after his death.
This shows that crystal skulls can be used for good or bad purposes and even for control. Mankind must therefore be ready for them. The greatest claim made for the skulls though, was that they had power over death itself.
The presenters then claimed that the skulls represented the eminence of the human soul and can help to create an out of body or a kundalini awakening experience. This may sound somewhat far-fetched or a bit New Age to us until one remembers that the C’s had said the Mayans used crystal skulls for soul reflection.
The presenters then referred to how in Atlantis crystals were supposedly used for power generation and the storage of information. Again this resonates with what the C’s have said about Atlantian crystal power. This point was then linked with the unveiling in Tokyo in 2012 of a quartz crystal chip created by Hitachi that could in theory survive for millions of years. As we know, quartz can hold energy and transmit power, as demonstrated by the Great Pyramid at Giza – a subject I intend to return to in my next post. Moreover, quartz crystals have the potential to store far more information than silicon chips can at present.
Apparently, “Amar” in Hebrew means: to say, to speak or to utter. Amar in Hindi is a common Indian name meaning "immortal" or "deathless". Amar in Aramaic means: to say, speak, to command, to tell or to relate. AMAR in Spanish means: to love. Hence, there is a strong indication in the name that the skull is linked with communication or divination.
Going from peace loving Tibetan lamas to Nazis, the programme then claimed that Heinrich Himmler had procured a crystal skull, which was subsequently discovered in the home of an ex-SS officer after his death.
This shows that crystal skulls can be used for good or bad purposes and even for control. Mankind must therefore be ready for them. The greatest claim made for the skulls though, was that they had power over death itself.
The presenters then claimed that the skulls represented the eminence of the human soul and can help to create an out of body or a kundalini awakening experience. This may sound somewhat far-fetched or a bit New Age to us until one remembers that the C’s had said the Mayans used crystal skulls for soul reflection.
The presenters then referred to how in Atlantis crystals were supposedly used for power generation and the storage of information. Again this resonates with what the C’s have said about Atlantian crystal power. This point was then linked with the unveiling in Tokyo in 2012 of a quartz crystal chip created by Hitachi that could in theory survive for millions of years. As we know, quartz can hold energy and transmit power, as demonstrated by the Great Pyramid at Giza – a subject I intend to return to in my next post. Moreover, quartz crystals have the potential to store far more information than silicon chips can at present.
Is it possible then that the Merkabah can act as a mother board for other skulls?
The Einstein Crystal Skull
This crystal skull is the largest yet discovered. The American owner, Carolyn Ford, appeared with the skull on the show. She told the presenter, David Childress Hatcher , that the skull had told her it was a computer and had originally been in Atlantis and it calls itself the “skull of consciousness”. It was subject to aura photography testing in Sedona in 2013, where it was discovered that the skull had a blue arc aura appearing over the top. The show then had an aura photographer repeat the experiment and sure enough, to the amazement of Childress Hatcher, the photograph did appear to show a blue aura in an arc over the top of the skull.
For more information on the skull see: EINSTEIN CRYSTAL SKULL
In that piece on the skull the following statement is made:
“Many people think that Einstein's name was inspired by the German Nobel Scientist Albert Einstein, but this is not correct even though Albert Einstein himself was said to have admired crystals (there is a so-called "Einstein Crystal" that is a quartz reputed to have been one of his cherised personal possessions). Einstein's present guardian said that the name just came to her, and she was astonished to learn many years later that in German, the translation of Ein Stein means "One Stone", which is very appropriate for this massive crystal skull.”
True or not, what intrigues me about this is that the C’s had also referred to Einstein meaning “one stone” in the session dated 13 June 1998:
A: What does stein mean, is it "written in stone?"
Q: Stein as in 'grail,' and stone as in 'philosopher's'[stone]. So, maybe we are getting close.
A: What does Einstein mean?
Q: 'One stone.' And a stein is a cup and a stone at the same time. So, Triesen is in the 'beautiful countryside between the Rhine and the alpine world.' There is an alp called Lawena, nearby Lake Constance, and the Swiss canton of St. Gallen. You said something about being buried in 'Galle' and this seems to have all the related elements collected together... all the key words... so am I...
A: On the right track? It looks good.
Now I am not suggesting that Einstein is necessarily the Holy Grail or the Merkabah here but it does seem to indicate that by linking the Grail to a crystal skull we are on the right track.
It may be appropriate at this juncture to remind everybody what the C’s have said about the Merkabah when the subject was raised by Laura, as it may help to clear up any misunderstandings that may have crept in on this subject. The C’s statements may also link with some of the things that were said above concerning what people may experience when interacting with crystal skulls. Please note that I have deliberately bolded certain statements for emphasis and added a few comments of my own in red in parenthesis.
It may be appropriate at this juncture to remind everybody what the C’s have said about the Merkabah when the subject was raised by Laura, as it may help to clear up any misunderstandings that may have crept in on this subject. The C’s statements may also link with some of the things that were said above concerning what people may experience when interacting with crystal skulls. Please note that I have deliberately bolded certain statements for emphasis and added a few comments of my own in red in parenthesis.
Session dated 15 April, 2000
Q: (L) This is something I have always wanted to get into a session, but I keep forgetting it. So, I wrote it down so I wouldn't forget. What is a "Merkabah?" All these New Age types are talking about it all over the place, and I just want to know if the standard interpretation is anything close to the reality. What is a Merkabah?
A: A creative creation.
Q: (L) Are you saying...
A: As were...
Q: (L) You didn't let me finish my question!
A: We heard it in you.
Q: (L) Well, just to get the question on the record, it was - are all these people making all this stuff up about what the Merkabah is?
A: But then again, what is made up and why? It is not so simple!
Q: (L) In ancient literature, something called a Merkabah is talked about, but the definition of this extremely mysterious thing has been lost down through the centuries. There have been many "explanations" from such sources as the Midrash - Jewish commentaries - but there is even argument there. It seems that, even then, nobody knew what it was. But now, we have all these New Age folks coming along who have decided that they know what it is, and it is variously described as rotating double tetrahedrons...
A: If no one knows what it is, that is as good as any other explanation.
Q: (L) I want to know what the ancients who wrote about it meant? What is the definition of the word as the ancient writers used it?
A: The original definition predates this.
Q: (L) What is the original definition that predated the ancient writings that we have access to?
A: What do you think?
Q: (L) What? Well, it's a curious word because it is composed of two words or even three: mer kaba or mer ka ba. If we think of it as three part word, we have the Egyptian Ka, which is like the astral body, and the Ba which is similar to the Ka. I guess you could think of them as the astral body and the genetic body. Then there is the Ab which is the sort of principle element of the life in man - like the part that is of God or the soul. The Ab was represented as a red stone. It was the part of the man that expressed desire, lust, courage, wisdom, feeling, sense and intelligence. So, all of them together sort of expresses an abstract creative principle Kaaba is Arabic for cube, and it is the square stone building in which the Black Stone is housed in Mecca. It was supposed to have been built by Ishmael and Abraham. So with Mer, Ka, Ab, and Ba, we have a cube made up of the principle parts of the etheric self, and housing a stone. Soul stone? Mother stone?
A: By god, she's got it!
Q: (L) Okay, we've got the soul or mother stone. Or the mother of all stones. Now that we have a definition, what was it?
A: The Matriarch Stone.
Q: (L) Is the Matriarch Stone the one in Mecca?
A: Symbolism reigns supreme here.
Q: (T) Is this also the Philosopher's Stone?
A: "Stone" to those you perceive as ancients symbolized communication from "a higher source."
Q: (L) What is it about a stone that made the ancients associate it with communication?
A: Radio waves.
Q: (L) How did radio waves interact with the stone? Were they recorded by the stone; transmitted by the stone?
A: Transmission.
Q: (T) Crystals are stones. Crystals are used for radio transmissions.
A: Yes.
Q: (L) And it was said before that Stonehenge was a giant transmitter and receiver. The original purpose of Stonehenge was to receive communication and to send communication. It wasn't all that Druid HooDoo stuff that people talk about nowadays. It was a machine, so to speak. (Johan) Could it be that people who come in contact with a stone in one place, and then they go to another place and come in contact with another stone, transfer something from one stone to another?
A: Well, one strengthens their abilities due to awareness channel grooving.
Q: (L) What gets strengthened from contact with the stones?
A: Your abilities.
Q: (L) When they are talking about this Mother Stone, are they talking about something similar to the Atlantean crystals that gathered, dispersed and/or transduced energy?
A: It is more symbolic. But you are on the right track.
Q: (L) So, in talking about Merkabah, we are not talking about spinning tetrahedrons that enable you to ascend or generate some kind of "astral vehicle." They are saying that visualizing yourself inside of one of these enables you to ascend, or something.
A: If you do that, it may help, though.
Q: (L) It may help what?
A: We are going around in circles here. You should use your own abilities to complete the answers to some of these. But, then again, it is one form of "spinning," is it not?
Q: (T) Everything we have been doing here is all about gaining knowledge and increasing frequency in order to transit from 3rd to 4th density. In ancient times, they would have had to do the same things. But, there may not have been as many experiences available. In order to get experiences, they may have had to travel. So, by going to the stones, they might have increased their frequencies to transit from 3rd to 4th density.
(L) Or they used them as a direct machine or device to do it. Archaeologists say that the people who erected the megaliths were barbarians. They are defined as barbarians because they didn't build cities, they didn't have the wheel, they didn't have organized agriculture, and they left no written records. Those are the defined elements of civilization. Yet, this group of people, whoever they were, did things that we cannot duplicate today, and they did it all over the globe. The groups who came along after them who DID have all the hallmarks of what we call civilization, also could not erect these gargantuan stones.
I thought about this for a long time. Archaeologists say they must have erected them as monuments to their gods, or heroes or whatever. Some of them think they were calendars to tell them when to plant the corn. Well, I think that is stretching it a bit. If you can't cross off the days on the wall and look outside and see that it is time to plant the corn, you're in pretty sad shape. You hardly need to haul stones as big as buildings across hills and valleys to set them up in special places to tell you to do that!
The psychology of the human being cannot have changed all that much over the many thousands of years from then to now, and it is true that people do not do anything without a powerful motivation; what I call the "payoff." What could be the payoff to haul these things around on greased logs as they are depicted? To create a monument or to bury their kings? To get naked and dance in the moonlight?
(A) Like they had a lot of time to do this while struggling to live the barbarian existence, too!
(L) Yeah. They are supposed to be howling savages who must constantly hunt to get food, yet they are spending all their time, occupying all their strongest men, to push rocks around! Meanwhile, according to the archaeologists and paleontologists, these folks only live to about 40 years at max!
(T) They got a lot of mileage out of those 40 years!
(L) Exactly! But, we are supposed to be thinking about the things they didn't have: cities, wheels, agriculture, and writing.
(F) Maybe they didn't need it.
(L) And why would that be? Because the stones did it all!
T) Maybe they were 4th density STO beings who planted all those stones all over the place.
(L) Well, if you think about a group of people who are setting up these massive stones like they were pieces of styrofoam. The stones collect energy and information. They then transduce the energy or amplify it. These people know things about movement, dances or spinning or something, that enables them to behave in concert with the stones so that they all become part of a grand machine that does things! All of the legends talk about stylized dances and the oldest things about Stonehenge say that it was the Temple of Apollo and that Apollo danced there all night at certain periods of time. Every 19 years, I believe. When you think about that, and the other places Apollo appeared, the inversions and redactions of the legends, and we come to these magical stones that produce things. Then we come to the head of Bran the Blessed which supposedly produced endless supplies of bread and fish or whatever else was desired. Bran's head was the giver of all good things. But more than that, it was an oracle. It could speak. And here we have the idea of a similar function for Stonehenge: both an oracle as well as a giver of blessings and bounty. Anything you wanted or needed it provided for you. If you wanted to go somewhere, it transported you as in the legends of the flying carpets. It was magic transportation. All of these things are associated, when you track them back far enough, with a stone. The stones did everything.
(Johan) And it is funny that stones come up. What I have been doing for the past 10 or 15 years is running around the globe collecting stones. I've been to some of the most ancient places on earth, and I go from one to the other. And from each one, I've collected stones. Plus, Apollo: on Crete, there was an oracle of Apollo on Tara...
(L) And there was Tara in Ireland...
(Johan) I wouldn't be surprised if Tara meant stone too! How is all this connected?
(L) Exactly. This is what I have always thought about these megaliths. They DID things. All of the things we think are the "signs" of civilization were done by the stones. Maybe Terry is right; these people were at some level of density where they could make this work. At some point, something happened, the ability was lost, and then people had to build cities, engage in agriculture, invent the wheel, and develop writing - because they could no longer do it the "easy" way.
(Johan) In talking about stones, would the mother of all stones be the navel of the earth; is that the same as Ayers rock? It's the largest stone on earth and they call it the navel of the earth.
(L) Does Ayers rock have anything to do with this?
A: No. Stones were once utilized to provide for all needs, as the energies transmitted connected directly with the pituitary gland to connect spiritual realities with the material realms of 3rd and 4th densities. So you see, the "stone" was viewed as Matriarchal indeed!
Q: (L) Were the beings involved in this type of activity 3rd density, 4th density or bi-density?
A: Originally 4th when home was in other locators.
Q: (L) Could it be said that the pituitary gland itself is the body's own "mother stone?"
A: If you prefer. We suggest a new path now.
[ ]
Q: (Johan) What was it that I found on the beach on Magnetic Island in 1985?
A: Looking for meaning? Start at the centre.
Q: (Johan) Center of Australia? Center of what?
A: You have been to the "centre."
Q: (Johan) I am not too sure that this means a physical place. For me, what I found was the center of knowledge. It started at Magnetic Island, and took 12 years for me to realize what it meant. For me it was the grail or the representation of the grail.
A: You have the stem, now wait for the flower to "bloom." [MJF: This could be a reference to the 8 petal lotus flower and the manadala of Eastern philosophy.]
Q: (Johan) And now I am going to be back in the same place! Is the flower going to bloom where I found the stem?
A: The locator is not so important as the located. [MJF: This appears to be a reference perhaps to going to one’s own core or centre as located in the Thalamus, at the centre of the brain, and the blooming is experienced when achieving a Kundalini awakening – the serpent fire and the personal Holy Grail for all of us.]
Q: (L) Where you find it is not so important as what you found. (Johan) Yes, that's true. I don't know what your story is with the Holy Grail, but for me, it took me twelve years to understand what I found which was my interpretation of what the Grail was - it represented it. That's interesting with the bloom...
A: We thrive on clues and so do you!
[ ]
Q: (Johan) Sharing information is something I have been involved with for many years...
A: But this process is expanding naturally anyway due to the exponential growth in your technology. And this, by the way, is an integral component in the eventual transition to 4th density. Not because of the technology, but the explosion of the knowledge base it is/will facilitate.
Q: (J) What exactly is the function of the pituitary gland in your references to Stonehenge?
A: This gland is your uplink.
Q: (L) Is it possible that the pituitary can be stimulated by external sources such as radio waves, waves from a supernova, or other frequencies in the environment?
A: Yes and experiments have ensued.
Q: (L) Would it be beneficial for us to experiment with such things?
A: Not wise. You could fry yourself in your zeal.
Q: (J) Are you guys actually channelling through your pituitary via radio waves?
A: This channelling process is comprehensive. Spiritual/psychic/physical.
Q: (L) I guess we aren't supposed to do any experimentation with it though.
A: You can experiment, but not technologically.
In conjunction with my last post, I thought I might link what I was saying about the Arthurian legends involving the quest for the Holy Grail with a post that Iamthatis did in the thread for the session dated 13 January 2021, since I can see a strong connection to what he put forward in his article with what we have been discussing here. See Session 13 March 2021.
In particular, I would highlight these passages in his post for your consideration:
(4) Randall Carlson states that there is an ancient technology of a lost civilization that is encoded in the story of the Holy Grail. From the MindMatters episode:
"Wounded in the thigh" refers to the Fall, wherein the 3D STO human Soul group fell into materiality when the feminine aspect took the Lizzie's bait and chose to indulge in sex, or, all manner of baser drives. Keep in mind the interrelation of the concepts of sex, DNA, blood, water, the heart, and the Soul discussed above.
The wounding - was this the moment when the ten factors of our DNA was burned off using light? I don't know if that has been confirmed, there is more research needed. But the implication here is that light can be used to create the Water of Life inside us (EZ water), but can also be used to enslave us and turn us into the slimy pink creatures in the pods that power the Matrix. Just like a hammer can be used to build a Gothic Cathedral - or Gitmo. This choice is perhaps the most striking example of how our personal choices are a matter of reality creation.
I think the answer is yes, although Da Vinci may not have had a true knowledge of electromagnetism as we understand it today but he probably was aware of of the chakra system and ancient systems of thought.
Given what we know of the Holy Grail, the Merkabah or the Gift of God, the recovery of this technology, if used by the right people, could help to regenerate so much of our present world.
In particular, I would highlight these passages in his post for your consideration:
(4) Randall Carlson states that there is an ancient technology of a lost civilization that is encoded in the story of the Holy Grail. From the MindMatters episode:
The king has been wounded in the thigh and is infertile, and the kingdom has also become infertile. Individual, social, and planetary regeneration. There is a ton of extrapolation that can be done with these few sentences alone. The infertility refers to planetary ecological degradation, widespread social degeneracy, but also an infertility of the individual Spirit, or the infertility of human awareness. Notice the "As above, so below" correspondence here, how regeneration and degradation all occur at multiple levels in multiple ways, (and perhaps with in a striking, non-linear, simultaneous way).
"Wounded in the thigh" refers to the Fall, wherein the 3D STO human Soul group fell into materiality when the feminine aspect took the Lizzie's bait and chose to indulge in sex, or, all manner of baser drives. Keep in mind the interrelation of the concepts of sex, DNA, blood, water, the heart, and the Soul discussed above.
The wounding - was this the moment when the ten factors of our DNA was burned off using light? I don't know if that has been confirmed, there is more research needed. But the implication here is that light can be used to create the Water of Life inside us (EZ water), but can also be used to enslave us and turn us into the slimy pink creatures in the pods that power the Matrix. Just like a hammer can be used to build a Gothic Cathedral - or Gitmo. This choice is perhaps the most striking example of how our personal choices are a matter of reality creation.
For Carlson, the Holy Grail is not simply a symbol. It is a technology. Although it has a symbolic aspect, it also has a very material existence. And it is not just something for individuals, the lessons inherent in the Gail myths appear to have scalability, registering at all degrees of cosmic organizational level. It registers as the possibility of regeneration. As he says, individual, social and planetary regeneration. I would say to him - why stop there? Why not solar system, galaxial, and cosmic regeneration, too? This is the claim that Gurdjieff makes in Beelzebub’s Tales, that whatever conscious Work we undertake is of direct benefit to the maintenance of the Most Holy Sun Absolute, or the cosmic heart. Just as the proper functioning of our mitochondria contribute to the overall wellbeing of our body, the wellbeing of our body contributes to the wellbeing of our planet, solar system, scaling all the way up to maintaining the heart of the cosmos itself. All Creation. In this specific, concrete sense, everything we do is of cosmic significance.
It is well worth reading the whole article, if you have not already done so, since there are a lot of interesting connections made in it with so many topics the C's have touched upon. It also shows how multilayered these old mythic stories are and you can see how those who composed these tales were encoding esoteric knowledge within them for those with eyes to see. Hence, we all need to ask the question - who does the Grail serve? I would also take this chance to include the picture of the chakras operating within a human being's electromagnetic field, since I think it helps to illustrate the kundalini awakening operating through the human spine, which forms the vertcial axis of the field and connects the chakras. He then states:
"As a side note, could this be what Da Vinci was trying to convey with his drawing of the Vitruvian Man? Food for thought."It is well worth reading the whole article, if you have not already done so, since there are a lot of interesting connections made in it with so many topics the C's have touched upon. It also shows how multilayered these old mythic stories are and you can see how those who composed these tales were encoding esoteric knowledge within them for those with eyes to see. Hence, we all need to ask the question - who does the Grail serve? I would also take this chance to include the picture of the chakras operating within a human being's electromagnetic field, since I think it helps to illustrate the kundalini awakening operating through the human spine, which forms the vertcial axis of the field and connects the chakras. He then states:
I think the answer is yes, although Da Vinci may not have had a true knowledge of electromagnetism as we understand it today but he probably was aware of of the chakra system and ancient systems of thought.
Given what we know of the Holy Grail, the Merkabah or the Gift of God, the recovery of this technology, if used by the right people, could help to regenerate so much of our present world.
