FISH SANDWICH WITH UR FRIES?
HOW ABOUT A LITTLE UNTRUSTWORTHY RAINCOATS TO GO ALONG WITH UR FISHY MEAL?
MMM MMMM GOOOOOD
I BET UR TRUSTY NEIGHBORHOOD CHURCH GRANDMA JONES GREW UP IN, AND MADE YOU A MEMBER AT BIRTH CAUSE SHE LOVED YOU SO MUCH SHE WANTED YOU TO GROW UP IN THE FLOCK ALONG WITH THE OTHER 35 MEMBERS IN UR NEIGHBORHOOD, HAS MADE AN IMPRESSION ON U BY HAVING THE FLOCK OF SHEEP(LE) ENTER A WOMB LIKE THIS, LEADING TO A LONG CORRIDOR HALLWAY, TO A PEW WHERE U HAVE BEEN PLANTING UR ARSES (SUN)DAY AFTER (SUN)DAY, WEEK AFTER WEEK, YEAR AFTER YEAR, UNTIL YOU BEGAN SEEKING THE ANSWERS U HAVEN'T GOTTEN FROM UR TRUSTY PREACHER WHOM ENJOYS THE PAYMENT OF 10% OF UR EARNINGS JUST TO READ THE SAME WORDS INSIDE OF THE SAME BOOK, OVER AND OVER AND OVER, LEAVING YOU TOTALLY OBLIVIOUS TO ANY OF THE ANSWERS YOU WALKED THROUGH THIS WOMB SEEKING FOR SOOOOO LONG... LOOK FAMILIAR?
Something's Fishy - Or Where Did that Pope's Hat Come From????
Editor's Note from Robert R. Barney... The following is not written by me. It is the study of some of the traditions of both the Catholic and Protestant churches by the Reverend Alexander Hislop, in his BOOK "The Two Babylon's" from the 19th century. For those who are truly interested in the pagan origins of many of the things our churches do, this book is exceptional! The following is about the Pope's Mitre (Hat).
The Sovereign Pontiff The Two Babylons Alexander Hislop
Chapter VI
Section I
The Sovereign Pontiff
The gift of the ministry is one of the greatest gifts which Christ has bestowed upon the world. It is in reference to this that the Psalmist, PREDICTING the ascension of Christ, thus loftily speaks of its blessed results: "Thou hast ascended up on high: Thou hast led captivity captive; Thou hast received gifts for men, even for the rebellious, that the Lord God might dwell among them" (Eph 4:8-11). The Church of Rome, at its first planting, had the DIVINELY bestowed gift of a Scriptural ministry and government; and then "its faith was spoken of throughout the whole world"; its works of righteousness were both rich and abundant. But, in an evil hour, the Babylonian element was admitted into its ministry, and thenceforth, that which had been intended as a blessing, was converted into a curse. Since then, instead of sanctifying men, it has only been the means of demoralising them, and making them "twofold more the children of hell" than they would have been had they been left simply to themselves.
Very early, INDEED, did the bishop of Rome show a proud and ambitious spirit; but, for the first three centuries, their CLAIM for superior honour was founded simply on the dignity of their see, as being that of the imperial city, the capital of the Roman world.
When, however, the seat of empire was removed to the East, and Constantinople threatened to eclipse Rome, some new ground for maintaining the dignity of the Bishop of Rome must be sought.
That new ground was found, when, about 378, the Pope fell heir to the keys that were the symbols of two well-known Pagan DIVINITIES at Rome. Janus bore a key, and Cybele bore a key; and these are the two keys that the Pope emblazons on his arms as the ensigns of his spiritual authority.The priest, therefore, that in the name of Hermes explained the Mysteries, must have been decked not only with the keys of Peter, but with the keys of "Peter-Roma." Here, then, the famous "BOOK of Stone" begins to appear in a new light, and not only so, but to shed new light on one of the darkest and most puzzling passages of Papal history.
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I have said that the Pope became the representative of Janus, who, it is evident, was none other than the Babylonian Messiah. If the reader only considers the blasphemous assumptions of the Papacy, he will see how exactly it has copied from its original. In the countries where the Babylonian system was most thoroughly developed, we find the Sovereign Pontiff of the Babylonian god invested with the very attributes now ascribed to the Pope. Is the Pope called "God upon earth," the "Vice-God," and "Vicar of Jesus Christ"? The King in Egypt, who was Sovereign Pontiff, * was, says Wilkinson, regarded with the highest reverence as "THE REPRESENTATIVE OF THE DIVINITY ON EARTH."
* Wilkinson shows that the king had the RIGHT of enacting laws, and of managing all the affairs of religion and the State, which proves him to have been Sovereign Pontiff.
Is the Pope "Infallible,"and does the Church of Rome, in consequence, boast that it has always been "unchanged and unchangeable"? The same was the case with the Chaldean Pontiff, and the system over which he presided. The Sovereign Pontiff, says the writer just quoted, was believed to be "INCAPABLE OF ERROR," * and, in consequence, there was "the greatest respect for the sanctity of old edicts"; and hence, no doubt, also the origin of the custom that "the laws of the Medes and Persians could not be altered." Does the Pope receive the adorations of the Cardinals? The king of Babylon, as Sovereign Pontiff, was adored in like manner. **
* WILKINSON'S Egyptians. "The Infallibility" was a natural result of the popular belief in regard to the relation in which the Sovereign stood to the gods: for, says Diodorus Siculus, speaking of Egypt, the king was believed to be "a partaker of the DIVINEnature."
** From the statement of LAYARD (Nineveh and its Remains and Nineveh and Babylon), it appears that as the king of Egypt was the "Head of the religion and the state," so was the king of Assyria, which included Babylon. Then we have evidence that he was worshipped. The sacred images are represented as adoring him, which could not have been the case if his own subjects did not pay their homage in that way. Then the adoration CLAIMED by Alexander the Great evidently came from this source. It was directly in imitation of the adoration paid to the Persian kings that he required such homage. From Xenophon we have evidence that this Persian custom came from Babylon. It was when Cyrus had entered Babylon that the Persians, for the first time, testified their homage to him by adoration; for, "before this," says Xenophon (Cyropoed), "none of the Persians had given adoration to Cyrus."
Are kings and ambassadors required to kiss the Pope's slipper? This,too, is copied from the same pattern; for, says Professor Gaussen, quoting Strabo and Herodotus, "the kings of Chaldea wore on their feet slippers which thekings they conquered used to kiss." In kind, is the Pope addressed by the title of "Your Holiness"? So also was the Pagan Pontiff of Rome. The title seems to have been common to all Pontiffs. Symmachus, the last Pagan representative of the Roman Emperor, as Sovereign Pontiff, addressing one of his colleagues or fellow-pontiffs, on a step of promotion he was about to obtain, says, "I hear that YOUR HOLINESS (sanctitatem tuam) is to be called out by the sacred letters."
Something’s Fishy in the Palace of Merneptah: Graffiti in Ancient Egypt
By JENNIFER HOUSER WEGNER | Published: MAY 19, 2011
Visitors to our Lower Egyptian gallery are struck by the colossal scale of the architecture on display there. Towering columns, massive doorways and an enormous gateway entrance – all of which speak to the power of the Egyptian pharaoh. One is impressed when looking at this monumental architecture, but very detached. There’s a reason for that. These architectural elements come from a royal building — a ceremonial palace — constructed for the king to reside in when he took part in important religious festivals in the ancient city of Memphis. Most of the population would have no access to this palace. This palace — one of the few Egyptian palaces on display anywhere in the world — was excavated by Penn Museum archaeologist Clarence Fisher between 1915-1923.
Images of the king interacting with the gods decorate the columns and the gateway. However, the only humans shown in the decoration (other than the king, who was, in reality, more or less a god himself) are the enemies of Egypt being bashed on the head by the pharaoh, Merneptah, in that timeless smiting pose seen in Egyptian art since the creation of the Narmer Palette around 3000 BC. So, while the king’s subjects built and decorated the palace complex, there are no traces of them anywhere.
Or are there?
Door Jamb, Memphis (Palace of Merenptah), Dynasty 19 (reign of Merenptah, 1213-1204 BCE), Limestone. Penn Museum Object E17527.
Door Jamb, Memphis (Palace of Merenptah), Dynasty 19 (reign of Merenptah, 1213-1204 BCE), Limestone. Penn Museum Object E17527.
CAREFUL observers will notice somewhat humble human touches — elements of graffiti — presumably left thousands of years ago. Graffiti is not a recent invention. People have been leaving their personal marks in places where they probably weren’t supposed to, since time immemorial. And just like some modern graffiti, ancient graffiti is actually kind of cool and very informative. There are Egyptologists who specialize in studying ancient graffiti and the information they can glean from them.
On two parts of the gateway jambs, if you look closely, you can see two examples of ancient graffiti. One is a tiny fish. The other is a seated woman with a child on her lap. They’re a little hard to find, but you can spot them in these locations:
The gateway of the palace of Merneptah. The fish is located in the blue area in the image on the left. The seated woman can be seen in the area of the white circle on the RIGHT
Who left these marks? When were they left? Why did they choose the imagery that they did?
Unfortunately, the answers to those questions are not so easy to come by.
Let’s start with the little fish.
The Nile River was home to a number of different species of fish. At some points in Egyptian history and in some locations in ancient Egypt, eating fish was taboo. At other times, this was not the case and excavations certainly turn up plenty of fish hooks and fish bones indicating a DIET rich in fish.
The fish symbolized a number of different things for the ancient Egyptians — some good, some really bad… [If anyone’s really very curious about fish in ancient Egypt, I recommend taking a look at the BOOK BY Douglas Brewer and Renée F. Friedman, Fish and Fishing in Ancient Egypt (1989).] The Egyptians used images of the tilapia fish as a symbol of rebirth and regeneration. (You can see a nice faience bowl with a tilapia on it (E14359) and a rattle in the shape of a tilapia (E13005) in our Daily Life room.)
TILAPIA FISH FOUND IN EGYPTIAN FAMILY LIVING QUARTERS
In some parts of Egypt, the Oxyrhynchus fish was highly regarded. (We have a nice Oxyrhynchus fish on display in the Secrets and Science exhibit. [54-33-6])
On the negative side, a fish was the creature blamed for eating Osiris’ phallus after his evil brother Seth dismembered him and cast his body parts into the Nile. This understandably could give a fish a bad reputation.
It’s hard to tell what species of fish is represented in our graffito. We find six distinct fishes depicted in hieroglyphs. For those of you who’d like the specifics, they are the Tilapia nilotica, Barbus bynni, Mugil cephalus, Mormyrus kannume, Petrocephalus bane and the Tetrodon fahaka.
Our fish doesn’t seem to have the long “snout” associated with the Oxyrhynchus fish (Mormyrus kannume). Nor does it have the shape of either the tilapia or the Tetrodon fahaka fish. Of the remaining three: Barbus bynni, Mugil cephalus, Petrocephalus bane, ours is dissimilar to all of them in that while its belly has some schematic scales scratched in, it is not shown with any pelvic or anal fins –features with which each of these fish are typically depicted.
In addition to the symbolic meaning of the fish for the ancient Egyptians, it should be noted that the fish was an early Christian symbol representing Jesus Christ. Christianity came to Egypt quite early and it is also conceivable that this fish was incised by an early Christian (although the fish shown here doesn’t look like the typical ichthys fish).
What about the seated woman? Who is she and what could her STORY be?
The woman holding the child on her lap probably represents the goddess Isis holding her child Horus. Marsh plants surround her, while another figure seems to be offering her a large lotus flower. Depictions of Isis holding her son Horus were a popular subject in ancient Egypt. This same motif appears on tiny amulets, in statuary, and on walls of temples. (We have a lovely bronze statue of Isis and Horus on display in our Amarna gallery. [E12548]) The marsh elements surrounding her throne/seat may reference to the myth in which Isis had to take her newborn baby and hide him from his uncle Seth. Seth had already killed Horus’ father Osiris and he would have been happy to make short work of the infant Horus, his competition for Osiris’ throne. Isis fled with her child and hid in the marshes of Lower Egypt. While there, a poisonous creature bit the child and Isis had to use her considerable magical powers to CURE him.
(ALIEARIA'S NOTE: ARMANA LETTERS)
Scenes showing women who have recently given birth are also similar to the figure in this graffito. These scenes typically show the mother seated in a birth arbor decorated with vines. She NURSES her newborn baby while one or more women tend to her and offer her symbolic items like mirrors and flowers. If this graffito does not depict Isis, but rather a human mother, perhaps it was scratched there as a votive offering as a wish for a successful birth, or in thanks for one. Post-birth scenes such as this also call to mind the birth brick discovered by Joe Wegner at Abydos in 2001. That brick is similarly decorated with a scene of a woman holding a newborn baby.
Birth Brick discovered in the Mayor’s House at Wah-sut, Abydos
Since we’ve pointed out that the fish can be a Christian symbol, it is interesting to consider that while the image on the gateway looks very much like a typical Isis and Horus scene, it has also been noted that imagery of Isis and the child Horus is a similar precursor to Christian imagery of Mary and the baby Jesus, (although to be fair, we don’t usually find her seated on a throne in a swamp…). It seems a link between this image and early Christianity is tenuous at best.
So, with our fish and our seated woman, we really are left with questions rather than answers. But, both images are an interesting, and perhaps little-noticed “human” addition to the gateway of the palace of Merneptah.
This entry was posted in Egypt, Museum.
MUSEUM'S WEBSITE
DAVINCI CODE SYMBOLS
MARY AND THE BIRTHING STONE (JUST LIKE THE ONE IN EGYPT)
IT'S THE SYMBOL FOR ORION, THE HUNTER, GIANT AND SON OF THE SEA GOD POSEIDON... FISHERMEN OF MEN'S SOULS
GENESIS 1:26
ORION IS NIMROD=MATERIAL BUILDER, SON OF CUSH
GENESIS 10:8-12
IT IS NIMROD, AKA ORION (MATERIAL BUILDER), THAT IS THE DESIGNER AND CONSTRUCTOR OF THE ZIGGURAT OF UR.
GENESIS 11:
ORION'S SYMBOL IS FOUND IN EVERY ANCIENT CIVILIZATION, AS WELL AS IN VATICAN CITY.
TALISMAN (ROBERT BAUVAL) https://www.youtube.com/watch?v=ii332eeFAsA
FROM CHAOS THEORY (BEGINNING OF THE UNIVERSE BEING IN DIVINE ORDER, REPRESENTED BY THE ORION CORRELATION TO EARTHLY BUILT ARCHITECTURAL DESIGNS AND ALIGNMENTS) LITERALLY BUILT INTO THE SACRED SITES ALIGNING THE GRID POINTS WITH THE HEAVENS. GOD NAMED THE CONSTELLATIONS, BUT HUMANS NAMED THE ANIMALS ON EARTH. THE SIGNS ARE THE CONSTELLATIONS AND THE 4 BLOOD MOON TETRADS ARE THE SIGNS FOR THE 12 TRIBES, AKA 12 ZODIAC SIGNS, TO REVEAL THEMSELVES. THE BLOOD MOON TETRADS OF ACTS 2:17-21 ARE HAPPENING NOW, SO THIS KNOWLEDGE IS BEING REVEALED IN ORDER TO BRING BACK THE ORIGINAL BALANCE, AKA THE KNOWLEDGE OF THE GARDEN OF EDEN, BACK TO EARTH. THE SYMBOL OF OPHIUCUS, THE SERPENT HOLDER, IS THE SECRET 13TH SIGN AND THE SERPENT ROPE IS THE 7 COLORS OF THE RAINBOW SPECTRUM IN WHICH IT IS SAID, "THE LORD IS SITTING ON THE THRONE" THE RAINBOW SERPENT ROPE WE RIDE IS ACTUALLY OUR AURA. THE SECRET MYSTERY OF REVELATIONS 1:20 IS THIS RAINBOW AURA THE SERPENT ROPE RIDERS ARE NOW REVEALING, WHICH IS THEMSELVES. THE 7 STARS ARE THE 7 CHURCHES, THE 7 CHURCHES ARE THE 7 CHAKRAS INSIDE OF US. WE ARE THE 7 CHURCHES, WE ARE STARSTUFF
WE ARE STARDUST BY MELODYSHEEP
MORGAN FREEMAN SONG BY MELODYSHEEP
VIRTRUVIAN MAN DAVINCI CODE: VENUS
AND THE REASON FOR THE FEATHERS OF THE MAYANS? AND THE BLUE PAINT? FEATHERS MEAN PINNACLE: STAR BLUE=STARS=
pin·na·cle (pn-kl)
n.
1. Architecture A small turret or spire on a roof or buttress.
2. A tall pointed formation, such as a mountain peak.
3. The highest point; the culmination. See Synonyms at summit.
tr.v. pin·na·cled, pin·na·cling, pin·na·cles
1. To furnish with a pinnacle.
2. To place on or as if on a pinnacle.
[Middle English, from Old French, from Late Latin pinnculum, diminutive of Latin pinna, feather; see pet- in Indo-European roots.]
The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved.
pinnacle (ˈpɪnəkəl)
n
1. the highest point or level, esp of fame, success, etc
2. (Physical Geography) a towering peak, as of a mountain
3. (Architecture) a slender upright structure in the form of a cone, pyramid, or spire on the top of a buttress, gable, or tower
vb (tr)
4. to set on or as if on a pinnacle
5. to furnish with a pinnacle or pinnacles
6. to crown with a pinnacle
[C14: via Old French from Late Latin pinnāculum a peak, from Latin pinna wing]
Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003
pin•na•cle (ˈpɪn ə kəl)
n., v. -cled, -cling. n.
1. a lofty peak.
2. the highest or culminating point, as of success, power, fame, etc.
3. any pointed, towering part or formation, as of rock.
4. a relatively small upright structure, commonly terminating in a pyramid or cone, rising above a roof or coping or capping a tower or buttress.
v.t.
5. to place on or as if on a pinnacle.
6. to form a pinnacle on; crown.
[1300–50; Middle English pinacle < Middle French < Late Latin pinnāculum gable = Latin pinn(a) raised part of a parapet, literally, wing, feather + -āculum; see tabernacle]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
THE TOP OF THE ZIGGURAT LOOKS LIKE THIS
Y40
