Seven Sisters

In the essay Stonehenge, the Beginning of Camelot an analysis of the legend of King Arthur and the Knights of the Round was presented as an example to show that the west side of the Denderah zodiac (circa 120 BC) was dedicated to the creation of legends in the course of human development. The process of creating legends and telling them to children is the fundamental difference between human cultures and animal herds. The various legends are the essence of each culture that aspires to verify its own heritage. This behavior can be summarized as nurturing, and is the essence of feminine responsibility. This is not behavior of females versus males, it is behavior that is more easily identified with mothering aspects of parenting. Thus, men and women within any culture nurture the culture by caring for its youths. These aspects can be associated with the "seven sisters" of Cosmic Motherhood, illustrated above. They act in unison as a "One Verse City," in which the verse is the Swan Song of Kingdom Come.

Childre have only feelings to guide them.The present essay deals with the process of applying the dreams of the nurturing legends in the course of life after leaving the protective womb of mother in the weaning stage of life. Cultural legends give offspring a feel for what is to come, based upon generations of direct experience in the trials and tribulations of life. The journey to independence begins by wandering in the wilderness looking for familiar events based upon the legends and the feelings they inspired in childhood. In this respect, it is the feminine nature of the person that is most closely aligned with truth. The Denderah identifies this relationship by placing the female half of Gemini on the axis of the temple, where Horus, the Falcon of truth sat upon a reed representing the axis of the knowable world. This is the purpose of any Holy Mother Church or Temple. The tenet of the Holy Mother Temples has always been "common sense." When common sense is transferred to the children through legends from the past, the legends will become the experiences of the future. The child is a "once and future king." In the initial journey away from the parenting environment, the feelings of "common sense" are strong and the well nurtured child has a clear sense of self purpose.

To understand the post mothering stage of social development, we will examine some examples from the past. Let us go back in time to our prehistoric past, when the bond between mother and child was the essential bond of the "beast" which eventually became human civilization. Before legends had been created, humans transferred their wisdom through the senses without written materials or elaborate stories. Like puppies and kittens, the emotional instincts were very powerful spirits which were acquired as common sense. These powerful emotional spirits would require suppression and subordination in the developing of a rational culture structure. The need to suppress the emotions is evident in the female goddesses and the feminine sculptures of the paleolithic age of humans. This sounds like a contradiction, but the mothering response and its nurturing bondage were being identified so that their subliminal cords could be broken for the sake of self control. This need to suppress emotion was symbolised by the vials of the mother who stands as a pillar of the Kingdom to Come. Suppression is not the goal, it is the means to control. Thereby, the child is taught to be responsible for the very virtue it seeks. Responsibility becomes a goal to please mother so that her affection will be granted. Totally submissive parenting spoils the child and prevents the child from maturing in its ability to take the responsibility to love itself and others. Legends and traditions transfer some of the parenting responsibility from the individual parents to the group parents. In this way an idol or icon acts as a surrogate parent in teaching group responsibility. The child learns to identify with the group or culture in which it matures. A responsible culture is fundamentally a loving culture.

An early mother image.Funk & Wagnall's makes the following statement regarding our prehistoric ancestors. The mother figure to the left is an example of Paleolithic Art, the earliest known art, produced roughly between 40,000 and 10,000 BC, during the late Paleolithic or Old Stone Age period. The invention of sharpened flint blades by Paleolithic humans made possible the earliest art objects; small carved or incised pieces of wood, ivory, and bone. About the same time, the first drawing and painting developed; simple handprints outlined in colored earth on the walls of caves. Paleolithic art evolved from these prototypes into two principal forms: sculptural; small statuettes of animals (symbolic of early human dependence on the hunt for food) and of highly exaggerated, sexual and pregnant-looking human figures (symbolic of ancient preoccupation with fertility); and graphic; drawings and paintings of animals on the walls of caves. Both apparently played a part in religious rituals, and they were believed to possess great magical power. The small animal sculptures and fertility statuettes such as the Venus of Willendorf (30,000?-25,000? BC, Naturhistorisches Museum, Vienna), have been found in a region extending from eastern Europe to Siberia, but principally in present-day Austria, the Czech Republic, and Hungary. The center of cave painting, on the other hand, is in southwest France and northern Spain. There, in the caves of Lascaux, France, and Altamira, Spain, among others, highly sensitive, colored figures of horses, bulls, and other animals are preserved. In one technique paints were made of colored earths and animal fat; in another technique, colored earths and charcoal were ground to fine powder and blown through hollow bone tubes onto the cave walls. "Paleolithic Art," Copyright (c) 1994 Microsoft Corporation. Copyright (c) 1994 Funk & Wagnall's Corporation.

Disregarding the somewhat self inflating aspects of the F&W author's discussion, we are shown that concern for mothering was important to early humans as a matter of study, as opposed to being a simple matter of survival. The inflamitory conjectures of "dependence on the hunt for food" and "ancient preoccupation with fertility" are indicative of the author(s) not recognizing the great physical power of the female in a species. Whether we consider fertility in the form of sexual desires, or nurturing in the form of physical caressing, it is the woman that holds all the power cards. Muscular strength may give the male momentary power, but it is desire for her that is the dominating emotion. Rational understanding of this power is essentially a process of breaking the bondage to the umbilical cord of Mother Nature.

Mothering nature took care of our early ancestors by nurturing them in a garden far more abundant than the one we live in today. Without this abundant garden, our species would have perished like all the other species which have found life's effort too great to thrive. In Egypt, Isis in her form as Tefnut, Nut, and Hathor, symbolised the "Great Provider." Our technology produces more goods and services, but it denies the natural provisioning and it takes away our free time. This need to break the bond with mother is, in essence, the womb of legends which subsequently transformed humans into a world dominating technological creature. In a Garden of Eden the few became fruitful and multiplied. With legends and ideals, ancestors inspired descendants to surpass the circumstances of life to create a "self" evolving biological species, for which "image of self" exceeds the "physical self" in a battle of the mind and the heart. When learning the legends became a central thrust  of childhood, a place was found within civilization which gave men equal nurturing power to women. With physical strength and traditions, men could build civilizations while holding emotions in check. This weaning process is identified in Luke 2:48-49: And when they saw him, they were amazed: and his mother said unto him, Son, why hast thou thus dealt with us? behold, thy father and I have sought thee sorrowing. And he said unto them, How is it that ye sought me? wist ye not that I must be about my Father's business? Insensitivity toward parents became a mark of maturation in Western Culture, over which mother was expected to ponder.

We do not have enough data available to help separate the transitions through the pre-homo sapiens, but it can be assured that the fire bearing Neanderthals had means to pass on legends and lessons in life beyond the genetic tree of the organism. They we larger than homo sapiens in body and brain size. It is suspected that homo sapiens reached dominance by virtue of their ability to overcome the desire for mothering nature. By the "virtue" of insensitivity, they conquered the "weak of heart." The transition from the Magdalenian period 17,000 BP (before present) until the fall of Rome and the advent of Christianity (2000 BP) represents 15,000 years during which masculinity fought for dominance over femininity in a battle between rationality and emotion. As we will see, the struggle with this "Bull of My Mother," as this feminine power was called by the Egyptians, resulted in the Fall of Man. It has always been a subliminal struggle, for "he" essentially was struggling to defeat the desire for that which he wanted most of all, "her." Being the beneficiary of his conquests, she acquiesced to his assertive actions.

Return to the WombWithin the womb.

To demonstrate this phenomenon, let us go on a journey which we will call a Return to the Cosmic Womb. We can use the Magdalenian cave paintings in the Hall of Bulls at Lascaux, France to help find our way through the maze of human cultural development in the womb of Mother Nature. Imagine you are one of life's novices and you enter the cave from the northwest (top left in map). Where we come from is not of importance for now, for what we can learn in the womb will tell us who we are, and where the trail of our past leads from. Looking across the womb in the mountain (top right) we can see a small axial passageway leading to some unknown world. Try to imagine walking through the ritual hall holding a firebrand which flickers on the chalk deposits and the artwork placed there on. Images would be brought to mind which would stimulate the essence of the soul, either for good or ill, depending upon an uncharted past in the mind.

A Way Out of the WombThen within the axial passageway there are many more mysterious messages written upon the ceiling so close as to cause stronger feelings for good or ill. As a first time visitor, the images on the wall are unrecognizable. But the shapes are recorded  in the mind for future trips through the Cosmic Womb. This is the instinctive passageway of the Teacher of Righteousness, which is the lioness Sekhmet of the seven sisters from the University of Mothering. Shapes are what they are, and they cannot be imagined in error, for on this trip through the axial passageway, there is no judgment, just memorization. By pure rote, the messages on the walls are engraved in the memory. Future recall of the journey with the Teacher of Righteousness will produce familiar images, but they will not be understandable to the future consciousness. Nevertheless, these memories written upon the instinctive record of the memory will take subliminal control of our perceptions. We will be capable of recognizing familiar shapes, and that familiarity will keep the truth in a subliminal state. This is how culture evolves. We are familiar with Santa Claus and other mythological personages because of instinctive familiarity gained when were were not aware of the greater cosmos around us. Truth is defined by what we saw. It is the analogy described by Plato of shadows in a cave. We do not know whether the shadows are caused by ourselves or by others.

Cosmic recordings.

As we take a closer look at the axial passageway leading from the Great Hall of Bulls, we who have retained memories of the world outside the Cosmic Womb can identify relationships. These relationships include the obvious creatures of the region around "southwest France and northern Spain" in the forms of aurochs (extinct bovines), horses, deer, and bear. Hidden in the mystery of the creatures of the land are deeper relationships which carry a cosmic message. For these bovine images carry records of visions written upon the celestial walls of the great Cosmos outside the womb in the mountain, and above the forests, fields, and streams of Mother Earth.

Cosmic Aurochs

The relationships of the aurochs and horse (#3) are the relationships of thousands of spots of light in the night time sky. The consequences of this deeper meaning is that the adept carries full responsibility for the cultural heritage. Something in the celestial message is being given great importance, for which only the adepts have an understanding. Of particular interest are the directions the creatures are facing. In the middle of their focus is a dark place in the heavens where the legendary waters begin to flow. This is the place of the Great Flood. What is this place? Upon close examination of the Serpent and the Crab (Hydra and Cancer), we can see that this is where the Egyptians said that Khephera (Cancer) acquired the sun from the serpent of the night boat (Hydra) on its way to roll the solar light of Ra up into its highest height of day. At the time of its founding, this Egyptian story was describing the day when the new year began as the star Sirius rose with the sun. Just as dawn was breaking, the constellation Cancer would be visible with the head of Hydra on the horizon. Thus, the serpent of the night boat was giving the sunrise to the constellation Cancer, or Khephera. But there was a deeper meaning behind Khephera. Khephera was the symbol of creative power, and therefore, Cancer represented the beginning of creation. To understand this meaning, we have to recognize the zodiac and the precession of the equinoxes. The classic interpretation of the zodiac, as given in the denderah zodiac is that Cancer is the beginning of the maturation process and Leo is the destination after passing through all the other houses of the zodiac. Thus, the Hall of Bulls is a record of the deeper meaning behind the ecliptic and its beginning and ending. The message implies sufficient past knowledge to know that the precession of the equinoxes was the ultimate measure of time. There is no more profound message in any religion on earth. They all say that the manna from heaven is delivered according to the fruits of the precession. The echo of this precessional knowledge can be heard in Leviticus 25:15-16; According to the number of years after the jubilee thou shalt buy of thy neighbour, and according unto the number of years of the fruits he shall sell unto thee: According to the multitude of years thou shalt increase the price thereof, and according to the fewness of years thou shalt diminish the price of it: for according to the number of the years of the fruits doth he sell unto thee.

If this were just a fantasy, it would be a conjecture about a drawing that is 17,000 years old and pyramid texts which are over 4500 years old. The precessional wisdom of Egypt is clearly demonstrated in their monuments. It is the most profound measure of time because it is the longest measurable period on earth. The odds against these being chance relationships are greater than the number of stars in the visible heavens. Either an all knowing God moved the arms of the artists, or the artists saw the handwriting on the cosmic wall and reproduced it in the cave. We know without any conjecture that the Denderah zodiac is a representation of the precession of the stars in the heavens. Both compositions draw attention to Cancer, clearly telling us that the essence of the Denderah tradition had to be well over 15,000 years old when it was put into stone. This is not information useful to the average person, but it is mandatory that the priests who regulate a civilization by star positions understand the "number of the years."

It is clear from the fact that common people no longer understand the simplest celestial messages that something has been lost since the Denderah temple was dedicated. Humanity had eaten of the manna in the heavens and chose to deny the messages they carried. The fact that the Magdalenians chose to create the message in the cave tells us what we can do ourselves. We can become one of the herd. We can choose to record "Common Sense" on our own hallowed halls. That choice must be made by regarding the most profound wisdom above all other wisdom. Without knowledge of the location in the stars, ancestors and descendants would be hopelessly separated. With this knowledge, it would be possible to establish and celebrate the jubilees of the ancestors. The continuation of the celebrations of the sacred jubilees is the key to retaining an essence among the living, and thereby, eternal life. All of the truly great monuments of past civilizations point to the celestial location when the civilization celebrated its jubilees.

Taurus is still with us.Look closely at the eye of auroch #18 in the star chart above and the cave figures preceding it. Now compare auroch #18 to the present perception of Taurus in the Redshift 3 graphic to the left. Aldebaran is represented as the eye of the bovine. In the more ancient sketch above, the auroch looks much more friendly than the bull which Taurus has become. Do you suppose that someone or some experience has led this bovine cow to become a bovine bull? Or has it always been either a cow or a bull?

Answers to these questions will become apparent when we learn what happened in the 15,000 years that transpired from the days when the Magdalenians decided to make a grotto for worshiping the mothering form of the herd. We can anticipate that a bovine becomes a raging bull when the creatures that invade its pastures begin to defile its sacred halls. Later graffiti added on the Lascaux cave over the subsequent 17,000 years has debased but not hidden the original cosmic messages of the Sacred Cows. But, remember that the Sacred Cows were representative of cosmic cows, for whom the Egyptian Hathor became a prime example. Even the image of Taurus on the Denderah zodiac appears to be a fun loving sensitive creature. So, lets look again in the womb in the mountain to see what could have enraged the bull, and chased all the cows away.

Bull #18 is above the axial passageway riding bull #15.According to Franklin Edge, the discoverer of these celestial correspondences as presented in Aurochs in the Sky, Dancing with the Summer Moon (Society for Scientific Exploration 1996), the #15 auroch in front of the Taurus bull #18 represents the Orion Bull, and it was drawn above the axial passageway, because it belonged in the axial passageway of the composition. The horns of Taurus are just under the intersection of the Milky Way and the ecliptic, and the feet of Gemini. The Gemini bull (#13) crosses the intersection of the Milky Way and the ecliptic (see previous star chart) and includes Orion. The axial passageway in the heavens and the constellation Orion are at the same location. However, in the cave, it was not feasible to draw Orion on the passageway. By metaphor then, Orion is the axial passageway leading from the womb chamber into the depths of the mountain through an axial passageway.

A fundamental purpose for many legendary rituals involving Orion is the elimination of egocentricity by the presentation of cosmic conformal meaning. Orion stands for understanding and experience. The Hall of Bulls is an example of incredible wisdom, in an epoch when our science can see only "symbolic dependence on the hunt for food and an ancient preoccupation with fertility." Lascaux's Hall of Bulls is a womb within a herd, and its goal is to show initiates the herd of the culture. We have lost the "common sense" message written upon the walls of caves 17,000 years ago, for the sake of our own egocentric paradigms. What happened to those sacred cows? What happened to the sanctity of the herd? What happened to understanding? What happened to common sense?!!

In case this message is unclear consider that Orion was Osiris to Egypt, and was situated at a place called Rostau where the entrance to the underworld was a sacred lake of fire. Through the passageway of Rostau, Egyptians could find eternal life beyond the land of the dead, or the Duat. If you have followed this analysis up to this point, you should be a bit awe struck that humans living 17,000 years ago should have held in highest esteem the same celestial location as humans living 5,000 years ago. There are Egyptian messages that declare that the ancestors of the Egyptians passed on 30,000 years before Egypt was founded. And do not overlook Atlantis. According to Plato in the Dialogues of Timaeus, the Egyptians told Solon (uncle of Socrates) that there was once a great kingdom that ruled the world 9,000 years before Socrates was born (circa. 6th century BC). The evidence presented in the Lascaux cave supports the Egyptian version of an Atlantis type world power, and the evidence precedes Plato's Atlantis by 5,500 years. The implication is clear, Atlantis descended into the cosmic sea when men began to run away from their mothers, rather than being grateful for that lake of fire in which "she" brought "him" into being at the moment when her flood passed through the axial passageway. One way to recover from this ingratitude is to be born again of the virtuous mother, and let innocence regain its purity. That way appears to be the message of Lascaux, and it is the explicit message of the Denderah zodiac.

University of Fathering

The End of the Bull Fight

Available records indicate that a thousand years after the formation of Egypt the cults of Persia began to worship in accordance to a god called Mithra and his nemesis Ahriman, the bull slayer. Sometime during the first millennium before Christ, and probably after the conquest of Persia by Alexander the Great, the Persian theology evolved into the religion of Mithras, and eventually it became the religion of the Roman Empire. This was a powerful Father form of worship which had the essential overt objective of conquest of the bull of the material world. The Mithras Tauroctony scene was central to all Mithraeum worship sites, which usually were cave like burrows with drawings and engravings upon the walls. The Tauroctony depicts a tremendous amount of celestial information, as well as a complete cosmic philosophy. Hidden in these images is the war between Egypt, the bull, and Persia, the man.

The primary message in the vignette is that a follower of Mithras will experience the exact same sense of awe at the moment he overcomes the cosmic bull. The conquest of the bull by "he" is essential to Mithraic practice, since women and children were excluded from the cult. The top rank in the Mithraic cult was given the title "Father," with the descending orders being  Sun Runner, Perses (Son), Lion, Soldier, Nymphus, and Crow. These seven brothers were grades of initiation in the military and bureaucracy of Rome. The Mithraic idea of ultimate cosmic victory has a powerful effect on men who strive to conquer the world. They learn that life without ultimate victory is not life, but prolonged dying. This god who conquers the cosmic bull is the same Lancelot of the Round Table of King Arthur. He is Orion before the conquest, Perseus during the slaying act, and Auriga after the conquest is complete. It is the face of Auriga that is shown on Mithras. The object of the struggle is the salvation of the children of Mithraism identified by Gemini on the shore of the Milky Way, and by the she goat (Capella) and the kids in Auriga's chariot.

A Cow Became a Bull

The artistic impressions of Taurus, Orion, Gemini, Perseus and Auriga presented earlier is shown in its actual celestial form by The Sky 5 star chart here. If you allow the Orion bull (#15) to be placed upon the axial passageway with the Taurus bull (#18) placed in the appropriate relationship to Gemini and Orion, then the Mithraic passageway was shown on the Lascaux cave. The exit out of the womb chamber through the axial passageway into the mountain was through the constellation of Orion. This is Rostau, the Egyptian gateway to eternal life. Around Orion the Egyptian astral myths created a four part river which is the boundary of a sacred lake of fire. In the stars of Egypt, and in the Lascaux cave, the story of the flood at Cancer results in the delivery of a first born son, Osiris (Orion) to the twins Nut and Geb, and a reborn son, Horus (Antinous), to Isis (Sirius/Aquila) after Osiris dies. This first born son is the Bull-Man, Osiris i.e. Taurus-Orion, the Apis bull of Egypt, and the Minotaur conquered by Theseus. It is also Mithras, before the conquest. These great Pagan religious myths have all chosen the same celestial gateway to memorialize for their descendants in monuments and temples. The femine charactreristics are overpowered by the masculine conquests, implying victory of rationality over emotion.

The precessional time of this gateway is illustrated in the Tauroctony scene by the hill with  the leafy tree and bull's head behind the front of the bull. At the tail of the bull is a fruited tree with a Scorpion in a valley below. These two trees describe the locations of the intersections of the galaxy and the ecliptic. The rising torch at the leafy tree with the bull's head symbolizes the rising sun at the vernal equinox, while the descending torch at the fruited tree with the scorpion symbolizes the descending sun at the autumn equinox. A little dog, a serpent, a crow, and a scorpion involved in the Tauroctony can be symbolic of the equator of the earth projected to the stars. It ran through the constellations of Canis Minor, Hydra, Corvus, and Scorpio when the vernal equinox sat at the Pleiades in 2214 BC.

The placements of these constellation symbols can be even more important, if they tell us who the bull really represents. We need to be acutely aware that the Tauroctony scene always showed the bull's head to the right. When we look heavenward at the actual stars from the days of the cave paintings in Lascaux to the representations of the modern Redshift 3 astronomy program, it is clear that Taurus faces to the left. The only way to see Taurus facing to the right is to be beyond Taurus looking back. In other words, this could be interpreted as a view of the material struggle by man on earth, as seen from the heavens! That is why Mithras has a look of awe on his face. He had seen the face of his god and was born again of the Virgin, just like the story on the Denderah.

Stonehenge Knew About the BullGoing back a few centuries to the story of Stonehenge (2850 BC), we can see the summer solstice image of that great monument's dream. It shows the position of Canis Minor at the front of Leo, Hydra under leo's feet, and the crow beyond the tail of the lion, precisely as shown on the Tauroctony scene. The position of the scorpion at the genitals of the Tauroctony bull is not a pure celestial message, for it specifically states the association of Scorpio to sexuality at the bull. In fact, it is the power of the sexual desire that has caused the rage in the bull. Scorpio and Taurus shared the equinoxes with Perseus at the moment when Mithras broke through the clouds at the vernal equinox. The Mithras moment was captured in Matt 17:5; "While he yet spake, behold, a bright cloud overshadowed them: and behold a voice out of the cloud, which said, This is my beloved Son, in whom I am well pleased; hear ye him."

Finally, in the Tauroctony, we have a small lion at the right front foot of the bull. This little lion has two purposes. By its location, it is suggesting the star Regulus (Little King), or what Revelation 9:10-11 calls Apollyon. And they had tails like unto scorpions, and there were stings in their tails: and their power was to hurt men five months. And they had a king over them, which is the angel of the bottomless pit, whose name in the Hebrew tongue is Abaddon, but in the Greek tongue hath his name Apollyon. Thus, to the adept who can read the messages hidden in the reality of the art, the Tauroctony scene depicts a man ceasing to fight the Kingdom of Heaven! The bull is in actuality the lion of heaven. In the analogy of the seven sisters of the University of Motherhood, we must recognize that the mothering power of righteousness for the sake of the kingdom to come is the struggle of the rational man in the form of the seven brothers in the University of Fatherhood. That is why Mithras is in awe. It is also why his cape is flowing toward the tail of the bull. The direction of time in the heavens is in opposition to the direction the bull is facing. This Divine Wind is the Voice of God blowing upon the face and body of Mithras. As the symbol for the successful Son of Man, Mithras is the essence of reason, or the Son of Re. In the heavens, that is the cocking head of Auriga as it peers over the Milky Way and sees the "Top of the World" where he endeavors to take the children. It was the struggle to gain rational control of the uncontrollable cosmos that caused the Fall of Man. When Mithras, the Son of Man, overcame the desire to defeat the bull of the material world, he was rewarded with the Kingdom of Heaven and the title of Son of God. This aspect of the Mithraic mysteries has clearly been carried over in the gospel of Christ according to Matthew 27:54 and Mark 15:39. And when the centurion, which stood over against him, saw that he so cried out, and gave up the ghost, he said, Truly this man was the Son of God. This process which began during the times of the Mother of All Living had been the ultimate test of the quality of the Adamist man of rationality as chronicled by Luke 3:38. Which was the son of Enos, which was the son of Seth, which was the son of Adam, which was the son of God. Rationality was the quest of the University of Fatherhood, but the quest ended when rational behavior gave way to tyranny under Caesar Augustus.

University of Parenting

We know that Mithras in Auriga is facing the "Top of the World" by examination of the banner above the Tauroctony scene. To the right is a chariot with a rider whose horses are headed down away from four flaming altars. To the left of the banner are four horses, Sol Invictus, and a man standing before three flaming altars. These four horses are the four horses of the apocalypse (Rev 6:1-10); Sagittarius, Scorpio, Libra, and the combination of Antinous, Ophiuchus, Aquila, and Serpens which stand at the opposite intersection of the galactic plane and the ecliptic from Mithras at Auriga.

Horsemen of the Apocalypse  1 And I saw when the Lamb opened one of the seals, and I heard, as it were the noise of thunder, one of the four beasts saying, Come and see.
 2 And I saw, and behold a white horse: and he that sat on him had a bow; and a crown was given unto him: and he went forth conquering, and to conquer.
(Sagittarius and Corona Australis are white from the Milky Way.)
 3 And when he had opened the second seal, I heard the second beast say, Come and see.
 4 And there went out another horse that was red: and power was given to him that sat thereon to take peace from the earth, and that they should kill one another: and there was given unto him a great sword.
(Scorpio has a  Stinger and Antares, a red supergiant star.) 
 5 And when he had opened the third seal, I heard the third beast say, Come and see. And I beheld, and lo a black horse; and he that sat on him had a pair of balances in his hand. 
(Libra is black outside the Milky Way)
 6 And I heard a voice in the midst of the four beasts say, A measure of wheat for a penny, and three measures of barley for a penny; and see thou hurt not the oil and the wine.
(The ecliptic is the route of merchants.)
 7 And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see.
 8 And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.
(Ophiuchus the celestial father with Serpens in his hands is pale for being on the fringe of the Milky Way.)
 9 And when he had opened the fifth seal, I saw under the altar the souls of them that were slain for the word of God, and for the testimony which they held:
(Antinous on Aquila is the ancient resting place of souls at the underside of galactic plane.)
10 And they cried with a loud voice, saying, How long, O Lord, holy and true, dost thou not judge and avenge our blood on them that dwell on the earth?
(Ancestors lost the bull of the Tauroctony crying for galactic salvation through Aquila and Serpens from those "merchants" who follow the planets on the celestial earth, as the four horses of the apocalypse.)

Between the set of three and the set of four altars stands a woman holding one arm down and one arm up. The up arm is on the side of the chariot. This lady is the primal Vestal Virgin showing the direction to the Kingdom of Heaven, which has become known to the descendants of Stonehenge as Camelot. The banner is in full agreement with the art work of the Magdalenians in the Hall of Bulls cave at Lascaux, some 15,000 years before Rome. The action on the banner flows in the direction of precession and opposite the movement of the earth. This is the meaning of the question in Rev. 6:10; How long, O Lord, holy and true, dost thou not judge and avenge our blood on them that dwell on the earth? The revelation of Mithras is that the design of the cosmos is written in the direction of the passing of cosmic time. This message was passed on through Revelations. The position of the Virgin in the midst of the seven flaming altars is the same as that shown on the Denderah zodiac. Thus, the mystery of Mithras is that the University of Fathering is the same as the University of Mothering. Both schools attempt to pass on "common sense." Common sense is the wisdom which says that truth is not that which is unique to the ego, truth is that which can be held in common with others. This is the legend of Seven Brides for Seven Brothers and the marriage in Canaan.

If you would like to see more on the story of Mithras and the seven brothers, go to The Cosmic Mysteries of Mithras by David Ulansey. In the next part of this essay we will find out how human's created religions that led to the rape of the Sacred Cow called Mother Nature. In looking back, it is clear that the search for common sense had strayed drastically along the way to become the tyranny that was Rome. Eventually we will learn that the descendants of priests who founded the male and female cults to the tree of Common Sense had to establish cults to kill the parasitic tree of Common Knowledge which had grown in its place. Common knowledge does not empower the senses because it creates artificial likenesses. Common knowledge leads to rationalizations called laws, paradigms, and other psychic dependencies. Common Knowledge is bondage to the nonsensible rule of law. All laws inspire lawlessness as children rebel against fathering bondage, but in the Father's hand, the bondage is retained by fear of the flail. The story of the loss of common sense is told on the Denderah zodiac, where Taurus tries to lead the children of Gemini into a land of sensual abundance, and Orion wanders in the wilderness like a cocky man. The Denderah zodiac predicted that the children of Gemini would follow the Light of Amun and Descartes into Aries. "I think, therefore, I am" is the guiding light of Aries which leads around sensual abundance at the "Bull of My Mother." This axiom implies its inverse, "I think not, therefore, I am not," and denies common sense, which says that in order to think, you must first use common sense.


Common Sense in Obeisance to Common Knowledge
Foundations for Eternal Cities

The Humble Approach

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