Precession = The Key

I just uploaded a video entitled "Precession = The Key." 

Its purpose is to provide a clear overview of some of the most important concepts discussed in the Mathisen Corollary book and this blog.

Please have a look and, if you find it worthwhile, please feel free to share it with friends and to give it a "like" or write some feedback -- thanks!

Why is it important to understand the precession of the equinoxes? Because precession is the key to seeing the evidence that the very most ancient civilizations were far more advanced than conventional historians and academia will admit.

Precession also enables us to see evidence of global trans-oceanic contact long before Columbus. It can even enable us to see evidence that the ancients may have known the size and shape of our spherical earth -- before the construction of the Great Pyramid!

This shocking conclusion completely upends the fabricated myth of linear upward progress from early civilizations to modern civilization. It has far-reaching consequences.

There are numerous previous posts dealing with all of the topics covered in the video. If you want more detail on anything discussed in the video, you can use the handy "internal search" window at the top-left of this page (for terms such as "precession," "Orion," "Osiris," "consciousness," "linear," "solstices" and so forth).

Thanks for watching, sharing and responding!

Cygnus and Aquila in the Milky Way

Although they are rising earlier and earlier and therefore are rotating farther and farther towards the western horizon during the prime viewing hours after sundown, the majestic constellations of the Swan and the Eagle are worth mentioning this time of year, due to some of the associations of these celestial birds with enduring traditions and celebrations.

The stars of the constellation Cygnus (the Swan) form a distinctive shape in the night sky, which strongly resembles a soaring bird. The brightest four stars in the Swan make up the two triangular outstretched wings. Perhaps the easiest way to locate Cygnus is to go to a very dark area where you can view the starry band of the Milky Way ascending from one horizon and arcing across the sky: both the Swan and the Eagle will be found within its pathway, as diagrammed above.

Another method for locating the Swan is to use the two stars at the back of the bowl of the Big Dipper as pointers (the forward two stars of the Big Dipper's bowl are traditionally known as "the pointers" because they point the way to the North Star if one uses them to create a mental line; the rearward two stars of the bowl can be used the same way, and they point to Deneb, the brightest star in the Swan -- this trick comes from page 38 of H.A. Rey's superlative book on the stars, a book which is discussed here and here).

The brightest star in the swan, Deneb, makes up one of the points in the famous "Summer Triangle," along with Altair in the Eagle and Vega in the Lyre, as shown below. The reason this triangle is associated with summer is that, in the northern hemisphere, the position of earth on its orbital path in the summer brings these constellations and their bright stars to a prominent place in the center and highest part of the dome of the sky during the hours after sunset. As stated before, they are now sinking lower into the west each night as the earth continues on its orbit, causing them to be in the eastern skies earlier and earlier and thus sink westward much earlier than they did during the summer.

























Stargazers desiring to see the Summer Triangle more easily might try squinting at these constellations, which has the effect of blotting out all the fainter stars and leaving only the three brightest stars to be visible (that is, Deneb, Altair and Vega).

Cygnus has a long neck, outlined in the top diagram (the diagram which shows the outline of the Milky Way), and the line heading towards the neck makes up a grouping called the Northern Cross for obvious reasons. However, the stars of the head and neck are quite faint, and it is perhaps most easy to picture Cygnus as outlined below. This is not the full outline shown in the books by H.A. Rey, which include the fainter stars of the feet, as well as fainter stars which extend the wings of the swan to a wider and even more majestic wingspan, but it is perhaps the easiest way to spot Cygnus if you're not familiar with the constellation, and it is quite magnificent and large in the sky, even in this "core" or abbreviated outline.

























Soaring towards the Swan as if to make a head-on collision is the constellation of Aquila the Eagle, easy to make out using the three stars of the Eagle's head, with bright Altair in the center. The Eagle's wings are marked by fairly bright and readily visible stars as well, and his mighty wingspan is very impressive once you locate him. We discussed the Eagle and the three stars including Altair (the others are Alshain and Tarazed) in this previous post describing Comet Garradd. The delightful little constellation Sagitta the Arrow is near the Eagle's head, and its stars are depicted in the diagrams above, although the shape of the Arrow itself is not outlined (we're just concentrating on the two heavenly birds right now).

The constellations of Cygnus and Aquila are very important mythologically. The mighty protective eagle atop Yggdrasil the World-Tree is very likely related to Aquila, especially as he has a "bright-eyed hawk" perched upon his beak, which could be a way of describing the brilliant stars at the head or beak of this constellation.

Further, as explored in more detail in the Mathisen Corollary book, the goddess Isis disguised herself as a bird and flew around the tree in which Osiris was entombed after he was slain, an event with many echoes in other mythologies. Author Andrew Collins believes that Isis is closely associated with the constellation Cygnus, and he explores the importance of Cygnus extensively in his book The Cygnus Mystery: Unlocking the Ancient Secret of Life's Origin in the Cosmos. Without necessarily agreeing with every conclusion that he reaches, it is clear that he has uncovered extensive evidence for the importance of this constellation and echoes to myths and traditions around the world.

Below is a depiction of Isis with wings from the tomb of Pharaoh Seti I (the father of Rameses II) which bears a very striking resemblance to the arrangement of the stars of the celestial Swan. We have also explored some of the important myths of gods and goddesses who wore winged bird-suits in the discussion of the recently-discovered artifact known as the "Winged Man of Uppaakra." Mr. Collins points out that the Valkyries of Norse myth also were associated with swan-wings and at least one important Valkyrie with a full swan-suit.



















His theory also explores the importance of the shamanic ability to turn into a bird-form in order to ascend to the heavens.

Interestingly, Mr. Collins notes that the constellation Cygnus is associated with both geese and swans in many myths and traditions (he even has a chapter in his book entitled "The Swan-Goose of Eternity"). He notes that the feast of St. Martin, which falls on November 11, often featured a roasted swan or (in more recent times when eating swans became less popular) a roasted goose. Note all the associations with geese in the traditions surrounding the life of St. Martin described here, as well as the tradition of eating a Martinsgans (or "Martin Goose") on November 11.

In the chapter of his book entitled "The Waters of Life," Mr. Collins describes the Martinmas feast of the ancient London livery company of the Vintners (the Worshipful Company of Vintners). According to Mr. Collins, their patron is St. Martin of Tours, and on his holy day (November 11),

they performed a swan feast, during which a roasted swan was ceremoniously paraded about the banqueting room before being eagerly consumed by all present. Although this tradition continues, today the Vintners eat a goose on Martinmas, while instead of a roast swan being paraded around its place is taken by a stuffed bird. When not in use it is kept in the Swan Room at Vintners' Hall.

Mr. Collins also points out that the Vintners are one of only two livery companies which participate in the annual ritual of "swan-upping" along the Thames each July.

Ever since the end of World War I, November 11 has of course also been known as Armistice Day, Veterans Day and Remembrance Day. On this important day of the year, after the sun goes down and if you have a clear sky, you may wish to go out and spend some thoughtful time contemplating the beautiful and important constellations of Cygnus and Aquila in the Milky Way.

Capella, precession, and the end of the Golden Age

In the previous post, we discussed a method for locating the constellation Auriga the Charioteer in the sky, as well as his connection to the myth of Phaethon. We also cited the authors of Hamlet's Mill concerning the deep importance of this myth, and its apparent connection with the end of the mythical "Golden Age" that appears in so many legends around the world.

The passages cited may be a little mysterious (it often seems as though the authors of Hamlet's Mill are deliberately mysterious), so a little more elaboration may perhaps be in order.

In Chapter XIX, Giorgio de Santillana and Hertha von Dechend devote an entire chapter to the myth of Phaethon and its importance. They explain that the myth of Phaethon is clearly connected to the Milky Way, and they cite many ancient poets who explain that the dusty white path of the Milky Way across the sky represents the "burned over" region made by Phaethon in his rash and disastrous attempt to drive the Chariot of the Sun.

In the passages which follow, keep in mind that the term "the Galaxy" is used interchangeably with the more familiar term "the Milky Way" to indicate the visible phenomenon we see from our vantage point on earth as we look "edge-on" at the galaxy we live in, which at night is seen as that visible glowing white band guarded by Scorpio and Sagittarius on one end, and Gemini and Cancer on the other, as we discuss in this previous post and this previous post.

On page 258, they tell us "The Galaxy was and remains the belt connecting North and South, above and below." As we saw in those two previous posts, this path was linked in many cultures to the way between the realm of the living and the dead (with the South representing the world of the dead, and the souls of the dead going to the realm of Scorpio to pass into the world of the dead, and coming out again to be reborn in the north). This is what de Santillana and von Dechend mean when they say "North and South, above and below."

The authors continue:

The Galaxy was and remains the belt connecting North and South, above and below. But in the Golden Age, when the vernal equinox was in Gemini, the autumnal equinox was in Sagittarius, the Milky Way had represented a visible equinoctial colure; a rather blurred one, to be true, but the celestial North and South were connected by this uninterrupted broad arch which intersected the ecliptic at its crossroads with the equator. The three great axes were united, the galactic avenue embracing the "three worlds" of the gods, the living and the dead. This "golden" situation was gone, and to Eridanus was bequeathed the galactial function of linking up the "inhabited world" with the abode of the dead in the (partly) invisible South. Auriga had to take over the northern obligations of the Galaxy, connecting the inhabited world with the region of the gods as well as possible. There was no longer a visible continuous bond fettering together immortals, living and dead: Kronos alone had lived among men in glorious peace. 258-259.

This is significant indeed, and the reader who has taken the time to locate Auriga as described in the previous post is now in a position to understand it, and a lot more besides. As shown in the diagram at top, the authors are referring to the Age of Gemini as the Golden Age, when the Galaxy or the visible Milky Way stretched from the constellation that had its heliacal rise on the spring equinox (Gemini) to the constellation that had its heliacal rise on the autumnal equinox (Sagittarius).

As can be seen from the rough sketch of the situation above, the sun is rising in Gemini on the Spring Equinox in the Golden Age, and Orion is rising as well (as we have seen, Orion is associated with Osiris and with the ruler of the Golden Age who retires beneath the waters).

The phenomenon of precession, however, delays the rising of the constellations over a very long period of time (over the course of an Age), as we have also discussed before. Over time, the preceding constellation in the zodiac will take over the heliacal rising on the spring equinox (hence the term "precession"). In this case, Taurus will take over from Gemini (you can clearly see in the diagram that Taurus precedes Gemini in the nightly turning of the constellations through the sky, as this diagram is looking east at the constellations rising, and Taurus is visible above Gemini; if you go out tonight and find them, you will discover that you can see Taurus rising long before Gemini rises into sight).

Below is an illustration of the Age of Taurus, when the sun is now rising in Taurus on the spring equinox instead of Gemini (which has been delayed -- held beneath the surface of the earth, metaphorically speaking).




















Note that because of the position of the constellations in the sky, it is possible to see Auriga as "taking over" for Gemini, and to see Taurus as "taking over" from Orion (or rather, usurping Orion's position, as it was more often encoded in mythology). Strictly speaking, Taurus took over from Gemini, because the path of the ecliptic rises at an angle (an angle related to one's latitude, as discussed in this previous post). However, mythologically speaking, we find Auriga and Orion playing roles in the stories which the ancients used to preserve the record of this mighty shift from Gemini to Taurus.

De Santillana and von Dechend go further in presenting evidence that this celestial phenomenon is exactly what is being encoded in the myths surrounding Auriga. They delve into the mythological connections of Auriga's brightest star, Capella, which we mentioned in the previous post as being the sixth-brightest star in the entire sky (after Sirius, Canopus, alpha Centauri, Arcturus, and Vega).

They note that the name "Capella" means "female goat" or "she-goat" in Latin. As you can see from the nineteenth-century constellation diagram for Auriga shown below, Capella was associated with a she-goat, and the two small stars nearby (which H.A. Rey uses to form the very base of the nose of the Charioteer instead, using Capella pretty much as an eye) were thought of as her kids (and named Hoedus I and Hoedus II, which is Latin for a goat-kid).


























What could this possibly have to do with the end of the Golden Age and the precessional shift from Gemini to Taurus? Well, bear in mind that this shift separated the equinoctial colure (there is much more on the colures, what they are and how they function, in the actual book the Mathisen Corollary) from the Milky Way, removing the pathway and ending the "golden" condition in which the realms were connected and gods and man dwelt in harmony, according to de Santillana and von Dechend.

They note that this famous star, named for a she-goat, is associated in mythology with none other than the remarkable goat Amaltheia, who nursed the infant Zeus in a cave on Mount Ida (where his mother Rhea hid him from Kronos, who was swallowing all his children), and out of whose skin the mighty Aegis worn by Zeus was later fashioned. From her two horns came Nectar and Ambrosia (the food of the gods).

The authors cite "two shreds of Orphic tradition which seem to be revealing, both handed down to us by Proclus" (259). This is what they say:

The first says that Demeter separated the food of the gods, splitting it up, as it were into a liquid and a solid "part," that is, into Ambrosia and Nectar. The second declares that Rhea became Demeter after she had borne Zeus. [. . .] Demeter, when she "arrived," split up the two kinds of divine food having its source in alpha Aurigae. In other words, it is possible that these traditions about Demeter refer to the decisive shifting of the equinoctial colure to alpha Aurigae. 259.

This is all de Santillana and von Dechend will say here, but the idea of "separating" is clearly related to the major shift in the heavens which they just described (which severed the equinoxes from the Galaxy arch). The transformation of Rhea into Demeter at the birth of Zeus could clearly be connected with the end of the reign of Kronos at the end of the Golden Age, which is one mythological encapsulation of the end of the Age of Gemini.

Thus, the constellation of Auriga is important indeed, as is its most prominent star, alpha Aurigae or Capella. It is important in conjunction with the other constellations close to it in the sky, most prominently Gemini, Taurus, and Orion.

It is also interesting to note as an aside that the concept of the "horn of plenty" or "cornucopia" that is associated with Thanksgiving in the United States probably has its origin in the horns of Amaltheia the miraculous she-goat.

It is also interesting, in light of the fact that the she-goat found in the constellation of the Charioteer has two kids, that the Norse god Thor drove a chariot pulled by two young goats.

Thoughts on the winged man of Uppaakra

Recently, an excellently preserved and exquisitely detailed find from the archaeological site in Uppaakra, Sweden was unearthed. Photographs of the unique artifact reveal a man with a pointed beard and beautiful wings -- which he is grasping with his hands -- and a bird-like fan-tail between his outstretched legs.

Hat tip to Swedish archaeologist Dr. Martin Rundkvist for posting some fantastic images and discussion of the artifact on his blog, Aardvarchaeology (especially for those of us who don't speak Swedish).

Dr. Rundkvist points out that the winged man is unlikely to represent a Christian angel, as the period of its archaeological context predates Christian influence in the area. He notes that Norse mythology does offer the connection of either Freya and her falcon cloak or Weyland the Smith, who was such an accomplished artificer that he was able to fashion wings using the feathers of birds to escape his torment and imprisonment in some of the stories surrounding the episodes of his life.

Dr. Rundkvist finds the Weyland connection to be especially compelling, and it is noteworthy that the authors of Hamlet's Mill spend a good deal of time discussing the importance of smiths such as Weyland in their text. Often, a godlike smith will be described in ancient myth as being lame or crippled in the legs or feet -- the most familiar example to most readers being Hephaestos or Vulcan from Greek or Roman mythology. Weyland the Smith, however, was also lame in his legs, having been deliberately hamstrung by his cruel captor and forced to craft items at his forge for his tormentors. He later escapes by fashioning wings and flying away.

In Hamlet's Mill, as we have discussed many times previously, the thesis is put forward (with extensive supporting evidence from myth around the world) that these myths encode sophisticated astronomical understanding by ancient civilizations, often pertaining to the precession of the equinoxes.

The concept of a creator deity who is lame fits in with the delay in the appearance of Orion (in particular -- a constellation associated with Osiris in ancient Egypt, who was drowned and also mutilated by his brother Set) which is caused by precession. Each year, constellations near the plane of the ecliptic should appear above the horizon for the first time when the earth is in the same spot on its annual orbit. However, due to precession, this annual first appearance is delayed by a tiny amount (by only one degree per 71.6 years). This delay can be metaphorically likened to being "held down below the horizon" (or drowned, as Osiris is drowned), or it can be metaphorically likened to delay due to being hamstrung or lamed in the feet.

Note that Osiris is avenged for the wrongs done to him by his son, Horus -- the falcon god. This suggests a connection to Freya and his falcon suit which Dr. Rundkvist mentions! Weyland is also avenged of his wrongs and rises above his torment in the wings that he forges.

That these Norse and ancient Egyptian myths are parallel and related to precession is discussed by Jane Sellers in her outstanding discussion of the subject in Death of Gods in Ancient Egypt (in which she follows Giorgio de Santillana and Hertha von Dechend's assertions in Hamlet's Mill, while going further and adding many new insights of her own). She writes:

My neglect in naming Orion forger of a new Mill must be forgiven. He can be likened to the Anglo-Saxon hero, Wayland Smith, described in myths as wearing a shortish kilt that showed his lameness. In illustrations Wayland's left hand grasps a pair of tongs and his right is outstretched to two females who face him. He was said to own a wondrous sword -- and he, like Osiris, was made to go into exile. Wayland's banishment was considered by him as a wrong done to him which he avenged by cutting off the heads of the King's two sons. Then he 'rose in the air on wings he had made.'

This is just one of many stories that could be recalled as the dual concerns of precession and eclipse is insisted upon. There are many lame heroes, and more than a few blind Samsons, who bring the old Mill down. But at least one time, in the story of a young herdsman of Phrygia, the hero lost his maleness, which recalls the story of Isis collecting the scattered pieces of Osiris's cut up body, finding all but his sexual organs. I would hazard a guess that it was the two testicles that the tellers of the tales had in mind. There are even references to a lame Egyptian god. Plutarch wrote that Harpocrates, (Horus), the son of Osiris and Isis, conceived after Osiris's death, was 'weak in his lower limbs.' Spell 168 of the Book of the Dead has a veiled allusion to 'what is written concerning the legs of Osiris.' 199-200.

A final thought that may be helpful in the interpretation of this amazing new artifact of the winged man is the fact that in shaman traditions around the world, the shaman is usually able to take on the form of a bird in order to ascend through the nine worlds (note that Norse mythology also has nine worlds -- we discussed the probable origin of the number nine for celestial worlds in this previous post).

The shaman was sometimes depicted as having wings -- more commonly, as having fringes or tassels on his or her garments, even in rock art, which represented and suggested wings and the power of flight. These long fringes are very familiar to most of us from the fringed shirts and other garments of Native American Indians (such as in the Nez Perce shirt below, circa 1820).

















These observations are not mutually exclusive -- in other words, the possibility that the winged man of Uppaakra may be related to Weyland and to shamanism are not two distinct possibilities. We have already seen that the shamanic tradition appears to reflect and preserve many aspects of the same cosmological and spiritual beliefs encoded in ancient Egyptian "mythology" (the same ancient Egyptian mythology that is clearly connected to Norse mythology and to the stories of Weyland the Smith and perhaps to Freya and her falcon cloak as well).

All of these threads should be carefully considered by those who are now examining the startling new artifact of the winged man unearthed at Upppaarka in Sweden.