Monument at Shugborough Hall near Lichfield, Warwickshire.
The building of this monument was commissioned by Admiral Lord Anson in the 18th century - a man famous for his navigation skills. It was completed by his brother Thomas Anson MP a member of the Royal Society and an accomplished Mathematician.
It depicts a reversed copy of Nicolas Poussin's 'Les Bergers d'Arcadie' with some differences (discussed below). It shows three shepherds and a shepherdess in Virgil's Arcadia musing over the phrase
ET IN ARCADIA EGO
- I (death) am also in Arcadia.
Notice that the kneeling shepherd does NOT point at the letter R here as it does in the actual Poussin painting. Not to mention the appearance of a casket on top of the tomb.
The possible reason that this is reversed is because it is from a tracing made by Elizabeth Yorke
Notice too that Lady Anson's sketch is Poussin's first painting of Et in Arcadia Ego.
O = 15
U = 21
O = 15
S = 19
V = 22
A = 1
V = 22
V = 22
The best (so far) solution to this is that they are Latitude and Longitude co-ordinates
|15+21= 36|15+19 = 34| 22+1 = 23|22+22 = 44|becomes
Using the Paris Meridian as zero
the Greenwich Meridian was not established until 1851 by Sir George Airy
The Shepherds monument was built sometime between 1748 and 1763,
The coordinates must be corrected by 2º 20'
And the co-ordinates point to here
In the Aegean Sea between Arcadia and Turkey
The map above was made by Jean Richer in the 1950s
THE BIRTHPLACE OF
The Moon Goddess and the Sun God
Here is an explanation of Jean Richer from
of the Theosociety
Traveling to Delphi in the late 1950s, Jean Richer, professor of literature with a special interest in symbolism, wondered about the connection between Delphi, site of Apollo's main sanctuary and oracle, and Delos, the god's traditional birthplace, as well as Delphi's relationship with Athena, so prominently represented at the sanctuary. While in Athens, insight came in a dream: a figure of Apollo, facing directly away from him, turned slowly through 180 degrees to face him. Awaking, he found a map and drew a straight line joining Delphi, Athens, and Delos, revealing a spatial relationship among these sacred sites.
Over several years Richer continued finding alignments by drawing lines on the map which formed geometric figures, many of which obviously represented projections or correspondences on earth of celestial objects and directions. In fact, "it quickly became clear that the Greeks, like the ancient Mesopotamians and the Egyptians, had wanted to make their country a living image of the heavens."* He soon became convinced that Greece had been divided into twelve sectors corresponding to the twelve signs of the zodiac, with Delphi as the center or omphalos, the "navel" of the Greek mainland. Examining art and artifacts from cities and temples in the pie-shaped sectors, Richer found that, far from containing arbitrary decorations, the images predominantly related to the seasons, solstices, cardinal points, and zodiacal signs corresponding to their particular sector of the Delphic "zodiac."
*Sacred Geography of the Ancient Greeks: Astrological Symbolism in Art, Architecture, and Landscape by Jean Richer, translated from the French by Christine Rhone, State University of New York Press, Albany, 1994, isbn 0-7914-2024-8, paper, $24.95, p.11.
Further investigation revealed a second zodiacal wheel centered on Delos, which furnished the Aegean islands with sacred celestial directions and correspondences; and a third, older wheel centered on Sardis, capital of Lydia (in present-day Turkey), a city on the same latitude as Delphi (see Map 1). Finally, he found a still more ancient system centered on Ammoneion in the Libyan desert, home of the oracle of Ammon. It shared the north-south axis or pole line with Delos and included such objects as the Sphinx at Gizeh in its sectors.
What was the purpose of all these zodiacal wheels projected from the heavens onto Mediterranean geography?
It has long been known that the development of peoples and civilizations is influenced by the great rhythms of the earth and of the celestial bodies. The Greeks, like all ancient peoples, were aware of this and wished to put their cities and temples under the protection of forces that ruled particular places and times, mountains, springs, and rivers. — p. 1
This system of sacred geography applies equally on a smaller scale. For example, Athens served as a sacred center for the territory of Attica. In his Laws, Plato describes the proper method of founding a city, taking as his authority the oracles of Delphi, Dodona, and Ammon. For Richer this confirms that this method represents a codification of very ancient practices. Plato says the city-state should be located in the center of the territory and be divided into twelve parts radiating from a central sanctuary, each section consecrated to one of the twelve great gods. The city's population is divided into twelve tribes, one for each god, and the people were to have two dwellings in the sector corresponding to their deity: one in the city and another in the surrounding territory. Plato enjoins that the state and people be divided further into various parts, all factors of 5040, a number which represents the product of the first seven digits and which is divisible by 7 (the planets), 12 (zodiacal signs), 36 (decans), 72 (spirits), and 360 (degrees of the zodiac), as well as 144 (12 squared). When the purpose and methods of Greek sacred geography are understood, the rationale behind these instructions becomes clear.
The author calls Sacred Geography of the Ancient Greeks "a long meditation on the forms of religion and art of Greek antiquity" (p. xxi). It is not only a description and analysis of his findings concerning astrological symbolism, but also a narrative of his investigations. (This book is the first of three volumes dealing with astrological/geographical symbology; the other two are currently not available in English. The second discusses the subject in the Mediterranean regions of the Roman Empire, and the third in Christian art from the fourth to eighteenth centuries. The first and third volumes earned the author awards from the Academie Française.) Very often the alignments had predictive ability: if he looked where the lines indicated, he often found something with the expected archeological or mythic connection. His method is illustrated in the following, which relates to Map 2:
I had assumed that latitudes had been marked out from the existence of the earth line (Delphi-Sardis), the line of Hera temples, the solar line (Hermione-Delos-Didyma), and the line of the Olympuses, and I had drawn all the latitudes on a map of Greece according to the Pythagorean diagram.
At a point on the Peloponnese, exactly where the south-north axis intersects the hypothetical "line of Hermes," I had inscribed the sign of Hermes: .
One and a half years later, when I had begun a systematic reading of the Homeric Hymns, I noticed that the point I had marked was the summit of Mount Cyllene, birthplace of the god. — p. xxiv
He also used these alignments to understand the apparently arbitrary siting of several temples. For instance, the temple of Tegea is located in the midst of a featureless plain; however, its position forms an equilateral triangle with Delphi and Athens. Again, investigating the "abnormal" alignments of the temple of Apollo at Bassae, which faces north-northeast, he found that it was oriented toward Delphi.
When was this astrological system adopted by the Greeks? In Richer's opinion, astronomers before the eighth century bc used stars of first magnitude as the principal celestial markers. In the ancient Egyptian calendar, for example, "the beginning of the year was related to the heliacal rising of Spica. This harked back to a more ancient age, the Age of Gemini" (p. xxxii), when the equinoxes occurred in Gemini and Sagittarius, a period corresponding to around 6500 bc. The star-based system was eventually integrated with the zodiacal system, which has been traced back in its current form to at least 2000 bc in the ancient Near East. Considering precessional correspondences, Richer believes a system of coordinates based on the four seasons and four cardinal points was introduced into Greece between 2000 and 1900 bc, along with an arrangement of latitudinal lines corresponding to the sacred planets (Map 2 indicates these features). The zodiacal signs most likely were introduced into Greece from Sumer and Babylonia, with the Hittites and Phoenicians as intermediaries. The adoption of a full-blown zodiacal projection onto Greek territory seems to have coincided with the Greek adoption of the Phoenician alphabet between 1000-850 bc.
In his studies the author uncovered the existence of many calendars; in fact, "Each city and every region of Greece had its own calendar" (p. xxxii). These were of different ages, and derived from seasonal changes, or from stellar, lunar, or solar cycles. They had varying numbers of divisions and began at different times of the year, generally at one of the solstices or equinoxes. Many Greek calendars show evidence of an ancient knowledge of the precession of the equinoxes, the slow process in which the sun seems to move backward through the zodiacal signs relative to the solar year. For the last 2000-plus years, Pisces has been on the horizon at sunrise on the first day of spring (the spring equinox). For about 2000 years before that, the sun rose in the sign of Aries, and before that in Taurus, etc. When the four cardinal points of the year shifted to different signs of the zodiac, the symbols used to represent the seasons in Greek art and myth changed too. Symbols denoting the shift of the spring equinox from Taurus to Aries, which occurred around 2000 bc, are particularly prominent.
Even the zodiacs used varied over time. The author mentions an ancient ten-sign zodiac which, by the splitting of one sign into Virgo and Scorpio and the insertion of Libra, was transformed into twelve signs. The very similar symbols for Virgo c and Scorpio e hint at this original unity. In her Secret Doctrine H. P. Blavatsky mentions that two of the zodiacal signs ``remained for ages the 'mystery signs,''' saying also that the "idea that the signs of the Zodiac were in ancient times only ten is erroneous. Ten only were known to the profane; the initiates, however, knew them all, from the time of the separation of mankind into sexes, whence arose the separation of Virgo-Scorpio into two; which, owing to a secret sign added and the Libra invented by the Greeks, instead of the secret name which was not given, made 12" (2:502&n). In considering these signs, Richer says that the marriage of Cadmus (Scorpio) and Harmonia (Libra) "may commemorate the insertion of the sign of Libra in the zodiac. Harmonia was originally from Samothrace: in allegorical terms this could mean that the priestly college of that island decided on the zodiacal reform" (p. 115).
Celestial geography was an essential element in Greek religion and philosophy. For instance, the Pythagorean representation of the soul's journey from the underworld to the heavens through the planets is projected on the world/polar axis which passes through Delphi and Mt. Olympus (see Map 2). The resulting geographic correspondences are reflected in the location of sacred sites, and in mythology, art, and artifacts. This north-south line also symbolizes the descending and ascending gateways of the two solstices. In the same way, the Mysteries of Agrae and Eleusis were closely connected with the zodiacal division of Attica and its relation to the Delphic system, wherein Athens represented 0 degreesVirgo, the sign of Athena. Richer points out that "the Greater and Lesser Mysteries took place on the solstitial axis of Attica, while their dates were those of the equinoxes. Thus the four essential times of the year were represented by a single axis" (p. 77).
This ancient astronomical religion also underlies myths about the gods, demigods, and heroes. Worship of the Greek heroes — such as Heracles (Hercules), Perseus, Theseus, and Bellerophon — preceded that of the Olympian gods, and often their stories were later assimilated with those of the twelve zodiacal deities. A solar hero identified with Leo, Heracles goes back to the era before 2000 bc in which the solstices were in Leo and Aquarius. His twelve labors represent
a collection of traditions from successive stages in the history of a culture or civilization, which are sometimes quite difficult to coordinate. . . . Diodorus of Sicily said that there had been several Heracles, who themselves had been the heirs of a whole mythic history that included elements of diverse origins. The Hindu Hanuman, for example, is another hero like this, and the Babylonian Gilgamesh, whose history may have been transmitted to the Greeks by the Phoenicians, and again, the Phoenician Melqart. — p. 97
Richer makes a detailed analysis of the places and incidents in Heracles' journeys which discloses many astrological/mystical significances.
Years of studying coins, pottery, shields, temples and their sculptures, other archeological remains, myths, literature, religion, and calendars confirmed Richer's opinion that a sacred astrological geography and religion was pervasive throughout ancient Greece:
The evidence of the monuments shows in an undeniable way, but not yet clearly perceived, that during more than two thousand years, the Phoenicians, the Hittites, the ancient Greeks, and then the Etruscans, the Carthaginians, and the Romans, had patiently woven a fabric of correspondences between the sky, especially the apparent course of the sun through the zodiac, the inhabited earth, and the cities built by humanity.
If these conclusions are accepted, we have the beginnings of a meta-archeology. In fact, by simple geometry and starting from known sites, it becomes possible to locate certain points in Greece and Anatolia where methodically conducted excavations should give interesting results. . . . A team of experts, including astronomers, geographers, archeologists, and historians, could take full advantage of the concepts I am proposing. — p. xxv
This book demonstrates convincingly both the purposefulness of much in ancient Greek culture that has been passed over as arbitrary or inexplicable, and complex geographical and astronomical knowledge that underlies so many aspects of the life of these ancient peoples.
(From Sunrise magazine, August/September 2000; copyright © 2000 Theosophical University Press)
The Temple of Isis on DELOS
or is the coordinates close to the theoretical site of
The island (Thira) that supposedly disappeared without trace.
Plato's dialogues Kritias and Timaios:
Origins of Arcadia
DM (Diis Manibus)(Blood Sacrifices) and the fish and anchor denote
The Age of Pisces
A stone carved before Constantine.
Roman tombstones often included the letters D.M.
The one above was at the gateway to the underworld at Lake Avernus
Featured in Virgil's
Many people attribute the phrase Et in Arcadia Ego to Virgil's Eclogues but it doesn't.
However it does echo his concept of death.
Even in Arcadia I too am present.
With the gospel writers denoting the Royal Stars (The watchers) above each Gospel writer.
See the figures above each Gospel writer
MATTHEW and MARK are Regulus(LEO) and Fomalhaut (Close to AQUARIUS) respectively
LUKE and JOHN are placed close to the Equinoxes and represent Aldebaran(TAURUS) and Antares(SCORPIO) respectively
The Eagle over John the Divine is in fact the Phoenix and is featured in the Phoenix and the Scorpion story.
The star ALTAIR is in the Constellation of Aquila which is in the segment of the Zodiac sign of Scorpio which is a water sign hence the Chalice. (as is Cancer and Pisces)
ALTAIR is the Phoenix (Known in Latin as Vultur Volans)
See Mayan Great Year
by William Tyler Olcott 1917
Aquila (The Phoenix) rising above Scorpio (bottom right of picture)
The three birds of the Summer triangle
Altair (The eagle), Vega (from the Arabic an-nasr al-wāqi‘ "the falling eagle") Deneb (from the Arabic Dhanab ad-Dajājah, or "tail of the hen")
Apollo rode a White Swan and so it seems does the Vatican
Here is the view at dawn on BELTANE looking down the Via Della Conciliazione from the Vatican Palace.
on 1st May 2013
The 1st May is of course the date on which the Illuminati was first formed by Adam Weishaupt in 1776.
As mentioned in the passage from La Serpent Rouge is better rendered in French
"Vision céleste pour celui qui me souvient des quatres oeuvres de Em. SIGNOL autour de la ligne du Méridien, au choeur même du sanctuaire d'où rayonne cette source d'amour des uns pour les autres, je pivote sur moi-même passant du regard la rose du P à celle de l'S, puis de l'S au P ... et la spirale dans mon esprit devenant comme un poulpe monstrueux expulsant son encre, les ténèbres absorbent la lumière, j'ai le vertige et je porte ma main à ma bouche mordant instinctivement ma paume, peut-être comme OLIER dans son cerceuil. Malédiction, je comprends la vérité, IL EST PASSE, mais lui aussi en faisant LE BIEN, ainsi que xxxxxxxx CELUI de la tombe fleurie . Mais combien ont saccagé la MAISON, ne laissant que des cadavres embaumés et nombres de métaux qu'ils n'avaient pu emporter. Quel étrange mystère recèle le nouveau temple de SALOMON édifié par les enfants de Saint VINCENT."
Thomas Wright was an astronomer and it was he that first described (in the modern age) the Milky Way as being a view looking edge on to our galaxy.
Westerton Tower Built by astronomer Thomas Wright of Shugborough Hall and Hodnet Church fame. He's the one that first realized that the Milky Way is caused by looking edge on to our Galaxy. He supported both Newton and Halley on their new theory of comets.
He also built a Mithraic Temple at Wrest Park owned by Philip Yorke, Lady Anson's (of Shugborough) brother. The Temple at Wrest Park also carries a cryptic message as does Shugborough of course.
Wright built "follies" all over England in Stately homes, which he described as "Universal Architecture".
Thomas Wright wrote this book.
Front and rear pages
The Roman numeral sequence is:
132 31 61 102 104 135 118 142 123 118 119 116
17 3 2 19 8 2 19 4 1 22 114 13
Wright also did other things.
Wright’s ideas of the universe appear to stem from 18th century ideas of the Druid religion. In one of Wright’s earliest books he wrote in 1734 called “Elements of Existence” he imagined the universe as three great spheres where the middle sphere he calls “The Sphere of Felicity” where life is happy and balanced and in 18th century Druidism there is “The Circle of Felicity” Both ideas are from the 16th century mystic Jacob Boehme who influenced many 18th century philosophers in the philosophical clubs of London in Wright’s day. The Martinist Movement which was started by Papus which is based on the teachings of the French mystic and philosopher Louis Claude de Saint Martin (1743 – 1803) who took his lead from his mentor Martines de Pasqually. Pasqually had in turn taken his philosophy from Jacob Boehme and Louis Claude Saint-Martin called Boehme his ‘second’ master.
Eagle (above John the Divine) in Hodnet Church, Staffordshire, England
By the same person who did the surround at the Shepherd monument at nearby Shugborough - Thomas Wright
The four Gospel writers form part of the Royal Cross.
Altair is in opposition to Fomalhaut in the Milky Way.
When one rises the other sets
|A face of a Lion on the Right||Leo||Regulus|
|A face of a Man||Aquarius||Fomalhaut|
|A face of an Ox on the Left||Taurus||Aldebaran|
|A face of an Eagle||Aquila (Scorpio)||Antares
Michael - Aldebaran
Raphael – Regulus
Gabriel - FomalhautUriel – Antares
Notre Dame de Valère in
SION Switzerland on the right.
Curiously this painting is called Elijah and Elisha fed by Ravens by the
Courthauld Institute of Art
So we have a Poussin and a Teniers with St Anthony NOT being Tempted by the Devil.
Bergere pas de Tentation
both at Shugborough Hall.
Why would the Anson family at Shugborough elect to copy both the Poussin and Teniers Shepherds theme?
We also have a painting of Lady Anson (Elizabeth Yorke) dressed as a Shepherdess.
Note the copy of Poussin's first rendering of Et in Arcadia Ego she is holding.
This painting is still displayed at Shugborough Hall but the painting she is holding is no longer a copy of Les Bergere d'Arcadie (No1). We know from letters that she spent some time travelling to nearby Chatsworth House to trace the first of Poussin's painting's of the theme.
Poussin's Et in Arcadia Ego
Kept at Chatsworth House
Note the Shepherdess is showing her thigh.
She is Calisto who is Ursa Major which was known as the Thigh in the Sky
The man bearing a Pitcher of Water (sitting) is the constellation of Aquarius.
The NEW AGE we are about to enter.
Note the French IGN say that we entered Aquarius in 2012.
Note this is NOT Alpheus and the underground stream
It's not a stream and it isn't underground.
In 1763 in letters to her brother Philip Yorke, Lady Anson speaks of the Shepherdess monument, some fourteen years after Wright is known to have been there. Wright had been a personal tutor to Philip Yorke’s wife (Lady Anson’s Sister in Law) and the Yorkes lived at Wrest Park in Bedfordshire where Wright built a Mithraic Altar and Root House (for Mithraic Priests), it is important to state that this altar also carries a cryptic message written in some kind of ancient cuneiform which is translated into Latin on the other side. Wright was in no doubt that the earth was nothing more than another planet in a giant collection of other stars and planets however he did have theories on the transmigration of the soul which was a theological doctrine that taught that the soul, after death, would inhabit a succession of other worlds, becoming progressively more prefect. Wright is particularly famous for building Follies in the gardens of English stately homes and wrote a book in 1755 describing designs for arbours and grottos which he called “Universal Architecture”. The shepherdess frieze itself was carved by the Dutch sculpturer Scheemaker but it is likely that he never saw the real painting but modeled his sculpture from a reversed print possibly copied by Lady Anson from Poussin’s Les Bergere d’Arcadie from Chatsworth. However the surrounding arch is generally thought to have been built by Wright.
The cryptic message on a Mithraic Altar at Wrest Park
once owned by Philip Yorke brother of Elizabeth Yorke (Lady
Anson) who lived at Shugborough Hall.
The cryptic message on a Mithraic Altar at Wrest Park once owned by Philip Yorke brother of Elizabeth Yorke (Lady Anson) who lived at Shugborough Hall.