“Did Druidic get Levitate the Stones into Place?
The pyramid stones used to make Pyramid are enormous and weigh, on average, about 15 tons each. Two very large stone monoliths are each 25 feet in height. All of the stones are carefully set together and held in place by gravity instead of mortar. The attention to detail and the craftsmanship is impressive…it is impossible to catch a glimmer of light between each stone because they fit so tightly together. From early one, Nostradamus was fascinated by magnets. In fact, he claimed to have contracted terminal tuberculosis as a young adult but was completely cured through the power of magnets. One of the legends surrounding the Pyramid hints that Nostradamus used reverse magnetism to move the heavy rocks. Leedskalnin even told people that he had an in-depth understanding of the laws of gravity, leverage and weight and that he had “discovered the secrets of the pyramids,” implying that magnetism was used by the ancient Egyptians to construct the Great Pyramid of Giza.
In the meantime years that Druids or Giant cyclopean Masson worked to build the Pyramid , he never allowed anyone to see him work. In fact, he did most of his work after dark. One time, a few local teens spied on Giants one night. They reported that Giants was able to make giant stones float in the air and move into place by levitation. When Lolo Mauron was asked what kinds of tools he used, he only ever referred to something he called a “perpetual motion holder.” This is exactly how Druidic divination works. The oral tradition explains this concept using a sequence of stories involving streams, stones, floating sticks, and flowers. The stream represents the time continuum, thrown stones illustrate the event ripples, and the floating sticks and flowers demonstrate the passage of time. It isn’t possible for me to do the same without p snos muu making this section a much too lengthy instruction manual. This may be an appropriate moment to reflect on why the tradition has always been taught on a one-to-one contextual learning basis, involving an intimate relationship between teacher and learner and using the gifts of nature and the dynamic elements as learning tools. Being able to use the written word and line drawings is a very useful means of communicating, and I hope to have used them effectively in my explanation, but I am left feeling very aware of the difference in the two styles and disappointed that the reader cannot enjoy the same personal, natural experience that I benefited from in my early days. Unfortunately, this is not possible. What we need. then, is a methodologv for training our senses to carrying the philosopher stone?
“Plato’s motto “God geometrises” was accepted by both Aryans and Jews [SD3, 63]
“Moses was an initiated priest, versed in all the mysteries and the Occult knowledge of the Egyptian temples — hence thoroughly acquainted with primitive Wisdom. It is in the latter that the symbolical and astronomical meaning of that “Mystery of Mysteries,” the Great Pyramid, has to be sought. And having been so familiar with the geometrical secrets that lay concealed for long aeons in her strong bosom — the measurements and proportions of the Kosmos, our little Earth included — what wonder that he should have made use of his knowledge?” [SD3, 66]
“Moses utilised his knowledge of cosmogonical mysteries of the Pyramid, to build upon it the Genesiacal Cosmogony in symbols and glyphs.” [SD3, 67]
“When Josephus declares that Abraham taught Mathematics he meant by it “Magic,” for in the Pythagorean code Mathematics mean Esoteric Science, or Gnosis.” [SD3, 45]
Cyclopean masonry is a type of stonework found in Mycenaean architecture, built with massive limestone boulders, roughly fitted together with minimal clearance between adjacent stones and with clay mortar or no use of mortar. The boulders typically seem unworked, but some may have been worked roughly with a hammer and the gaps between boulders filled in with smaller chunks of limestone. Before publication of The Secret Doctrine in 1888, the most part of its concepts were kept secret, as those which in former times and still are preserved by Hindu pundits, Egypt hierophants, Druids, Mayan priests, etc.
“Professor Wilder remarks: The Essenes of Judea and Carmel made similar distinctions, dividing their adherents into neophytes, brethren and the perfect … Ammonius obligated his disciples by oath not to divulge his higher doctrines, except to those who had been thoroughly instructed and exercised [prepared for initiation]. [New Platonism and Alchemy, 1869. pp. 7.9.] One of the most powerful reasons for the necessity of strict secrecy is given by Jesus Himself, if one may credit Matthew. For there the Master is made to say plainly: Give not that which is holy unto the dogs, neither cast ye your pearls before swine; lest they trample them under their feet, and turn again and rend you.[ vii.6.]” [SD3, 45]
The famous examples of Cyclopean masonry is found in Saint-Remy-de-Provence, and the style is characteristic of earth’s acupuncture . Similar styles of stonework are found in other cultures and the term has come to be used to describe typical stonework of this sort, such as the old menhir. “Ammonius, speaking of his philosophy, taught that their school dated from the days of Hermes, who brought this wisdom from India. It was the same mystical contemplation throughout as that of the Yogin: the communion of the Brahman with his own luminous Self — the “Atman.” [SD3, 111]
“And when we say, indiscriminately, "India," we do not mean the India of our modern days, but that of the archaic period. In those ancient times countries which are now known to us by other names were all called India. There was an Upper, a Lower, and a Western India, the latter of which is now Persia-Iran. The countries now named Thibet, Mongolia, and Great Tartary, were also considered by the ancient writers as India. We will now give a legend in relation to those places which science now fully concedes to have been the cradle of humanity. [IU1, 589]
“Unwilling that his chosen people — chosen by him – should remain as grossly idolatrous as the profane masses that surrounded them, Moses utilised his knowledge of cosmogonical mysteries of the Pyramid, to build upon it the Genesiacal Cosmogony in symbols and glyphs. This was more accessible to the minds of the hoi polloi than the abstruse truths taught to the educated in the sanctuaries. He invented nothing but the outward garb, added not one iota; but in this he merely followed the example of older nations and Initiates. If he clothed the grand truths revealed to him by his Hierophant under the most ingenious imagery, he did it to meet the requirements of the Israelites; that stiff-necked race would accept no God unless He were as anthropomorphic as those of the Olympus; and he himself failed to foresee the times when highly educated statesmen would be defending the husks of the fruit of wisdom that grew and developed in him on Mount Sinai, when communing with his own personal God — his divine Self. Moses understood the great danger of delivering such truths to the selfish, for he understood the fable of Prometheus and remembered the past. Hence, he veiled them from the profanation of public gaze and gave them out allegorically…” [SD3, 67]
The term comes from the belief of Classical Greek that only the mythical Cyclopes had the strength to move the enormous boulders that made up the walls of Mycenae and Tiryns. Pliny’s Natural History reported the tradition attributed to Aristotle, that the Cyclopes were the inventors of masonry towers, giving rise to the designation " Probably cyclops was atlantean people.
The walls are usually founded in extremely shallow beddings carved out of the bedrock. "Cyclopean", the term normally applied to the masonry style characteristic of Mycenaean fortification systems, describes walls built of huge, unworked limestone boulders which are roughly fitted together. Between these boulders, smaller chunks of limestone fill the interstices. The exterior faces of the large boulders may be roughly hammer-dressed, but the boulders themselves are never carefully cut blocks. Very large boulders are typical of the Mycenaean walls at Mycenae, Tiryns, Argos, Krisa (in Phocis), and the Acropolis of Athens. Somewhat smaller boulders occur in the walls of Midea, whereas large limestone slabs are characteristic of the walls at Gla. Cut stone masonry is used only in and around gateways, conglomerate at Mycenae and Tiryns and perhaps both conglomerate and limestone at Argos.
«Apart from this, every cosmogony, from the earliest to the latest, is based upon interlinked with, and most closely related to numerals and geometric figures. Questioned by an Initiate, these figures and
numbers will yield numerical values based on the integral values of the Circle — “the secret habitat of the ever invisible Deity” as the Alchemists have it – as they will yield every other Occult particular connected with such mysteries, whether anthropographical, anthropological, cosmic, or psychical. “In reuniting Ideas to Numbers, we can operate upon Ideas in the same way as upon Numbers, and arrive at the Mathematics of Truth,” writes an Occultist, who shows his great wisdom in desiring to remain unknown.
Any Kabalist well acquainted with the Pythagorean system of numerals and geometry can demonstrate that the metaphysical views of Plato were based upon the strictest mathematical principles. “True mathematics,” says the Magicon, “is something with which all higher sciences are connected; common mathematics is but a deceitful phantasmagoria, whose much praised infallibility only arises from this — that materials, conditions and references are made to foundation.”
The cosmological theory of numerals which Pythagoras learned in India, and from the Egyptian Hierophants, is alone able to reconcile the two units, matter and spirit, and cause each to demonstrate the
other mathematically. The sacred numbers of the universe in their esoteric combination can alone solve the great problem, and explain the theory of radiation and the cycle of the emanations. The lower orders, before they develop into higher ones, must emanate from the higher spiritual ones, and when arrived at the turning-point, be reabsorbed into the infinite. [IU1, 6]
“It is upon these true Mathematics that the knowledge of the Kosmos and of all mysteries rests, and to one acquainted with them, it is the easiest thing possible to prove that both Vaidic and Biblical structures are based upon “God-in-Nature” and “Nature-in-God,” as the radical law. Therefore, this law – as everything else immutable and fixed in eternity — could find a correct expression only in those purest transcendental Mathematics referred to by Plato, especially in Geometry as transcendentally applied. Revealed to men — we fear not and will not retract the expression — in this geometrical and symbolical garb, Truth has grown and developed into additional symbology, invented by man for the wants and better comprehension of the masses of mankind that came too late in their cyclic development and evolution to have shared in the primitive knowledge, and would never have grasped it otherwise…” [SD3, 63]
“As Pythagoras showed, Kosmos was produced not through or by number, but geometrically, i.e., following the proportions of numbers. [SD3, 364]
“Plato’s motto “God geometrises” was accepted by both Aryans and Jews [SD3, 63]
Pausanias described the Cyclopean walls of Mycenae and Tiryns:
There still remain, however, parts of the city wall [of Mycenae], including the gate, upon which stand lions. These, too, are said to be the work of the Cyclopes, who made for Proetus the wall at Tiryns. (2.16.5) Going on from here and turning to the right, you come to the ruins of Tiryns. … The wall, which is the only part of the ruins still remaining, is a work of the Cyclopes made of unwrought stones, each stone being so big that a pair of mules could not move the smallest from its place to the slightest degree. Long ago small stones were so inserted that each of them binds the large blocks firmly together.(2.25.8)
Difference between ashlar masonry (left) and Cyclopean masonry (right), shown in the blue rectangle; Lion Gate, Mycenae, 13th century BCE
Modern archaeologists use "Cyclopean" in a more restricted sense than the description by Pausanias; while Pausanias attributes all of the fortifications of Tiryns and Mycenae, including the Lion Gate, to the Cyclopes, only parts of these walls are built in Cyclopean masonry. The accompanying photograph shows the difference between Cyclopean masonry (shown in the blue rectangle), and the ashlar masonry of the Lion Gate.
Locations of Cyclopean structures
The entrance of a Mycenaean citadel in the Bronze Age, Lion Gate. It demonstrated the monumentalizing occurring in Greece and showed the power of the citadel.
Apart from the Tirynthian and Mycenaean walls, other Cyclopean structures include some beehive tombs in Greece and the fortifications of a number of Mycenean sites, most famously at Gla.
In Sicily there are many Cyclopean structures especially in Erice, in the western part of the island.
In Cyprus, the Kition archaeological site in present-day Larnaca, has revealed cyclopean walls. In the ancient city of Rājagṛha (now Rajgir, Bihar, India), cyclopean walls can be seen.
The Nuraghe of Bronze age Sardinia also are described as being constructed in cyclopean masonry, as are some of the constructions of the Talaiot culture abounding on Menorca and present to a lesser extent on Mallorca.
One of the largest and least known is the "acropolis" in Alatri, an hour south of Rome. It also seems to have a portal the summer solstice sun shines and some think it is also has a number of other astronomical significant points to it. It is thought to be the second largest in Europe after Athens.
It is typical for scholars to consider quite narrow classes of artefacts that may be related to Stone Portals. As a result, there exists neither a common terminology, nor a classification even for the objects of similar types, for example – for labyrinths. Meanwhile, an introducing of terminology and classification of artefacts of the respective types should not be considered as an end in itself, but as an instrument for analysis of Stone Portals. From this point of view it makes sense to classify the artefacts associated with the Stone Portals by taking into account their functional, geometric, astronomical and other types of properties.
This approach allows us to consider a great scope of heterogeneous characteristics and order them (and thus – the classes) as it is required for a specific study, though in some cases this approach may cause an object to appear in several classes – as in a classed catalogue in a library presenting an example of non- excluding classification.
With this in mind, we propose a hierarchical classification that divides the Stone Portals into classes and sub-classes, starting with the most distinctive features and proceeding with more peculiar characteristics. In parallel, we systematize the terminology.
* Classes of artefacts that are considered in this study relative to their generalized exterior For the initial distinctive feature we single out the generalized exterior of Stone Portals. This
characteristic defines the following three principal types of artefacts.
Edifice – a Semi-buried stone construction with a roof and subsurface room(s); for example: pyramid
(as a rule – with internal passages), passage mound, cave temple, etc.
Dike – a distributed roofless stone structure on the ground – a kind of barrier in which the stones are disposed in rows that follow definite linear pattern. As a particular case, dike presents a petroform; but the latter term assumes too wide spectrum of meanings, since apart from boulder outline the p
and etroforms can also include a rock cairn, an upright monolith
slab, a medicine wheel, a fire pit, sculpted boulders, or simply rocks lined up or stacked for various reasons. Old World petroforms include the Carnac stones many other megalithic monuments.
The size of the stones may vary, but in general, these are used the detached megaliths (in cromlechs), boulders that touch one another without mortar (in labyrinths, stone circles and medicine wheels), and pebbles (in concentric stone circles and medicine wheels).
In the kindred types of dikes the barrier may be marked by a ditch or rampart.
A linear pattern, in which the lines of stones of dike are allocated, is called grapheme (e.g. a spiral). It is assumed that this pattern may contain several points which stand for detached objects; e.g. – for cairns.
Notice, that the geometrical and metrological aspects of mapping of artefact design in a linear pattern present an important problem which is considered in Caps.5, 8, and 9.
Image (symbol) – a portable (e.g. pendant) or solitary stationary object which presents a linear pattern which mimics a grapheme of some dike. It may be represented by a painting, carving, mosaic, etc. The most ancient and thus the most important specimens among them are petroglyphs – the images that are created by removing part of a rock surface by engraving or carving.
The main types of these graphemes present the well-known esoteric symbols being inherent in different cults; for distinctness these specific images are also called symbols.
Spirc. Essentially, the dikes, and thus – the images, which are considered in this study have the graphemes that are predominantly characterized by the patterns which, to a first approximation, present a composition of Spirals, radii and (concentric) circles. For this reason these patterns were given the collective name Spircs.
Therefore, as far as each non-edifice artefact is uniquely specified by its grapheme, the considered types of dikes and images, although they present different types of physical objects, may jointly be classified by their graphemes, and more exactly – by spircs which distinguish them from artefacts of cognate types. As well, a dike or image may also be called spirc if it is considered from the viewpoint of its geometry.
With this approach, we obtain an efficient tool for subsequent classification of Stone Portals like dikes and images since they may further be divided into classes (spirals, circles, double spirals, etc.) so that each class is characterized by a definite grapheme. In this case a grapheme serves as a geometrical (or rather – topological) identity card for the respective classes of both dikes and images. Further on, the artefacts of these classes are classified with respect to their geometric and other peculiarities.
Moreover, if a grapheme has some esoteric significance, this meaning is attributed to all artefacts of the respective class, regardless whether it is a dike or image; in other words, the symbolic property of an artefact as a whole is specified by its grapheme.
In such a way, both geometrically and symbolically, a grapheme presents an important characteristic of all types of artefacts which we consider as Stone Portals. All together this justifies the use of the collective name “spirc” in relation to all types of Stone Portals, with the exception of the edifices.
Besides, it is important that this approach does not present a thing in itself, since the topological peculiarities correspond to Esoterical features of the Portals and, together with the geometrical and metrological properties, show the unity of these models for different cultures and even continents. Namely, it will be shown below that the considered types of artefacts (including edifices) were used as Portals – mostly for the same purposes and within the same system of Esoterical concepts.
Furthermore, these three classes of artefacts are associated not only with the physical cult objects, but also with the respective abstract concepts of world view and religious nature; for describing these correlations it is required to specify more exactly those aspects of the ancient cults which we have to take into consideration in study of Portals, and how the typical material forms in which those cults were embodied correlate with the principal classes of Stone Portals.
For the most of advanced ancient cultures the knowledge that may be related to scientific attainments was inseparable from spirituality; from this point of view these two aspect of those cultures should rather be considered as a single whole – a world view. From this point of view disregarding of either of these aspects of a world view in study of Stone Portals is devoid of sense.
Indeed, on the one hand, an analysis of even smaller forms (like labyrinths and stone circles) shows that their designs were not random: neither geometrically, nor metrologically. Much more nontrivial mathematical and astronomical models were integrated in the greater forms like passage mounds and pyramids, and in various continents.
On the other hand, it is known that a significant part of analytical properties was associated with various spiritual considerations – religious (for masses) or Esoterical (for initiates) ones. An analysis of records, myths, legends and other sources, as well as the direct evidences show it undoubtedly that all over the world the handmade Stone Portals were the attributes of various cults, within the rituals of which they were used by the priests as the means that contributed to getting in contact with the creatures and forces of “other world” for achieving both spiritual and pragmatic goals. At this, some of the artefacts of this type were used as the places for conducting the rituals (Temples and Shrines), and others – as the cult images that assisted in carrying the rituals into effect or were intended for personal use (e.g. amulets).
From Esoteric point of view, this means that the Portals were virtually used as the occult “instruments” for accomplishing an interaction with the beings and energies of subtle planes (astral, et al.).
As far as these basic notions are used in the subsequent consideration, define their meaning more exactly.
, metempsychosis , aerosome , subtle planes , Astral , alchemy , esoteric , cosmotelluric , portals , artefact , menhir , hiérophant , Druid , Atlantean , Atalanta , cyclopean , giant , magnetic , flying stone , philosopher stone , structure , ritual , symbolically , Portal-artefacts , genesis , humanity , cult , stones , stonework , Vincent van Gogh , Saint Paul de Mausole , Nostradamus , Saint-Rémy-de-Provence , Mas de la Pyramide , Cyclopean masonry #Cyclopean #masonryThe #Stone #Portals #Saint #Remy #Provence #born #city #Nostradamus #Giants #Harness #Power #Magnets
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