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Post by Charlotte on Feb 24, 2006 10:31:35 GMT -5
Don, and hi everyone, Is it the more complicate it gets - the simpler it gets? In your reply to Julia you say that it is your contention that the Cathars thaught there is no god in the traditional sense, that we are our own god and through diligent study we can reach a level of enlightenment to see this, or "Know Thyself." The Egyptian affirm this "secret" of being our own god by saying "I am the maker of my name", "I have knit myself together", etc., but this pertains only to the phenomenal creation, in which creation every individual is everything together with every other individual in a present only. And yes, the question of all questions is "WHY?" We probably wouldn't be here if we knew the answer. So who taught the Egyptians? For instance, how did they know where the center of the landmass of the earth is? I know this center is disputed, somebody once told me it was in Rumania or Bulgaria, I think. And how could the Pyramid Builders not know the place, location and surface they intendet to erect these stupendous structures? Charlotte
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Post by kayos on Feb 24, 2006 11:48:01 GMT -5
Don, thanks for some amazing and thought provoking insights. I can appreciate your endeavors as my mind works by recogonizing patterns. Even in my youth I knew that things were not as they seemed or as so many others "knew" they were. Somehow it just didn't "feel" right. Early on (30-40 years ago) I did quite a bit of reading but my life took me in other directions and now I am trying to play catch up. I find the things that you bring forward are intuitively correct, and I do believe that you are being led to where you are going.
how did they know where the center of the landmass of the earth is? Charlotte, I think there are additional questions to ask along those same lines. Veliskovsky said that the earth has changed over the eons: land masses rising and sinking, the globe flipping over, etc. So how is it that the ancients would even know where the center of the land mass would be at this time!
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Post by Don Barone on Feb 24, 2006 13:05:08 GMT -5
Hi all. If you care to check out this thread, if it is still there, I have been trying to explain the theories to a group of individuals who are as thick as a record London fog. So for the slower members of the audience I have explained it all in picture form. There is no other possible way that a pentagram can be overlayed on The Giza Plateau and meet all these criteria but then these guys know this. So why all the playing dumb and "gee I don't see how you can do this or that " ? Well maybe they really are just plain stupid but I suspect something else. Here is the image. Any of a number of these things will lead to this overlay. One need not even have the tip of The Pentagram as it will be self evident when all the other things line up. So it really doesn't matter that we do not know exactly where the valley temple is it still works. However by using this Pentagram it does tell us EXACTLY where to look. Cheers Don Barone
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Post by Don Barone on Feb 26, 2006 19:57:23 GMT -5
Hi all ...
Well it would seem that someone is messing with my head. David Wood is indeed alive and well. Strange minds some posters have.
Cheers Don Barone
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Post by Don Barone on Feb 27, 2006 8:36:39 GMT -5
The Secrets of The Poussin Code
You know, if one painting, just one painting has the geometry they may think it's a fluke and they won't believe it. And if two paintings, two paintings have it, in harmony, they may think they're both flukes and errors and they won't accept either of them. And if three paintings have it, three, can you imagine, three paintings walking in showing the same geometry and walking out. They may think it's a conspiracy. .... [/size][/color] Liberally borrowed from Arlo GuthriePart IIThe Allegory of The Coronation of Celestine VOffical Version: An Allegory of The Coronation of Celestine V by a French artist 16th century Celestine V (orig. Pietro del Murone) Italian saint and pope 1294; resigned _1210-1296 Dimensions: 49.29 x 37.02 cm / 19.41 x 14.57 inch[/center] Allegory is a form of extended metaphor, in which objects, persons, and actions in a narrative, are equated with the meanings that lie outside the narrative itself. The underlying meaning has moral, social, religious, or political significance, and characters are often personifications of abstract ideas as charity, greed, or envy. Thus an allegory is a story with two meanings, a literal meaning and a symbolic meaning. Hi all. This is a rare glimpse at a hitherto hidden masterpiece entitled: An Allegory of The Coronation of Celestine V. Hi again all and here is the second part of a continuing saga of adventure and learning and enlightenment. As you can see above for many years it has been attributed to an unknown French Artist of the 16th Century. Over five years ago, on an early website of mine, I suggested that it was probably older than this and I questioned the fact that it was even a French artist. Over the last five years I have never stopped looking for this colour version ( I only had a cropped black and white version to work with). Just recently I finally found a colour version but the colours were not really true and it was only a very small image. Someone who has been following my progress arranged to have the image below released to me as a gift with instructions to release it to the Rennes le Chateau community. This I have done posting the mage to all boards which I frequent. Over the last five years I have also never stopped searching out the Old Masters and studying Renaissance paintings and about 6 months ago I suggested that this image might in fact have been done by The Flemish master, Jan Van Eyck. again my friend who has been following my progress suggested I just might be correct. Later he had this to say about the painting immediately after the painting was given to me: The 'Celestine' painting is believed - but not proved - to be by Barthélemy van Eyck. He was a nephew of the famous Hubert and Jan van Eyck, who painted the stunning Ghent altarpiece. Hubert and Jan were the Harlem Globetrotters among the painters of their time. Not even the later renaissance artists could match their skill on, for instance, perspective and geometry. Barthélemy van Eyck was “peintre et valet de chambre” (painter and chamber lord) at the court of René d'Anjou. Although popular and romantic belief have it that Good King René illustrated and painted his written manuscripts himself, the more professional art view is that he could not have possibly done that (he started way too late in life to achieve that level of skill) and that the works in books like “Le Cuer d'Amours Espris”, are more likely from the hand of Barthélemy. Interesting to note that René d'Anjou was at the time imprisoned by Bourgondian duke Philip the Good. Guess who was “peintre et valet de chambre” at that court.... Jan van Eyck. Barthélemy van Eyck has also been linked to The Annunciation triptych altarpiece at The Cathederal of Ste Marie-Madeleine at Aix-en-Provence.. [/color] Above you will see the image of The Allegory of The Coronation of Celestine V. The life of Celestine V is shrouded in mystery and the only records we have are from church sources so are dubious at best. The one thing we do know is that apparently Celestine 'abdicated' the papacy and was the first and only Pope to ever do this. Why it was done can only be conjecture but there has never been nor will there probably ever be a Celestine VI. The above painting was the hardest of the three infamous paintings brought to the world's attention in the book "The Tomb of God" by Richard Andrews and Paul Schellenberger. We only have this colour image due to the generosity of Mark Harlem and some of his "friends" who have decided to release it to the public domain as a gift and I was chosen as the person to deliver it. The painting is beautiful and has a 'feel' to it that begs deeper meaning and hidden thoughts and the title itself "The Allegory" says much about what may be in the painting as 'allegory' by definition means having another meaning above the one that is apparent. I was convinced that this painting had the same geometry as the other two shepherd paintings of Nicolas Poussin so I went in search of it. The early images of where we drew lines on the painting looked promising and I will give you an example of what some that were tried when this was being discussed on message boards. Here we see an image posted by Gary Osborn showing his 23.5 and 52 degrees. The significance which can be read about in his forthcoming book . Here you see an early overlay of The Great Pyramid on the painting. . Here we have combined a couple of elements. . I even was working on a tie-in to Washington DC. which I have by no means exhausted yet. I am sure we will find some very interesting things in Washington when I return to this city and do some more overlays. I already have a particularly interesting one in mind. . Here is an overlay of Washington DC and our Celestine painting. Please be advised that I only did the overlay. The upside down pentagram was sent in by a poster at Graham Hancock's board. I forget who it was, sorry. . The following images which you are about to view are the result of many, many hours of drawing lines, doing countless overlays and basically taking my mind to the edge. I honestly wish I could convey the absolute amount of work that went into an image that you will absorb in an instant. Again this is a culmination of a journey which started in 1991 with the printing of The Holy Place by Lincoln and I can still remember when my dear mother said to me on a visit with her at that time, "Don, you just have to read this one". Well I did and it started a 15 year journey that is slowly nearing completion and the sense of satisfaction is very overwhelming. (But as always new doors always open ). There are so many people I have to thank for getting me here that a list would be impossible to make but I will try. Authors such as Graham Hancock and Robert Bauval must surely be near the top of the list as do Von Daniken, David Furlong and his Keys to The Temple , Ralph Ellis and his book Thoth, Architect of The Universe , and a special thank you to Steve Nixon who is still putting together his views from a totally different aspect of this mystery for it is as I have said multi-level and as one responder said in a message to me at The Daily Grail, "There is plenty here for all of us." It has that many levels. Steve always seemed to send me something or other to start my search again and he once asked if I even cared anymore and I assured him it was always working in the back of my mind. Next up is a relative new comer, but an amazingly insightful man who has helped me enormously, is Gary Osborn. Gary dropped into my life seemingly out of the blue on Graham Hancock's message board and his obsession with the angle of 23.5 degrees (which I honestly at first thought was spamming) finally led me to search it out myself. I remember an innocent image of a knight on horseback which I found and on laying a protractor onto it was shown clear as a bell the angle 23.5. I went on to examine many images and find it in a lot of them and this directly led to starting my search anew. Gary then was gracious (and confident enough in me) to send me some of the work he had done on one of the Poussin paintings and it convinced me absolutely there was geometry involved and so I started drawing my own lines and we have seen where it has led. And a special thank you of course goes to my beloved mother who passed away 2 years ago on February 23rd and who always instilled in me a desire to search for the truth, to be good always and to strive for perfection. She lived to see my Kundalini and part of my very early discoveries but did not live to see my solution to some of the things she had been searching for all her life. She instilled in me a desire to always question everything and I can only smile as I think of her looking over my shoulder as I type this and seeing how far I have come from that early question I innocently asked her about 50 years ago, 'Mom are there any jobs as puzzle makers" ( I being very good at doing jig-saw puzzles even at the young age of 6}, "No" she replied, "I am afraid not". Seems she may have been just a tad wrong on that one. But my final thank you is to a gentleman who's two books have allowed expansion of thoughts undreamed of in my youth. He has opened up avenues and paths that none but the brave dare tread. He has been my guider and mentor and reference since I first picked up his books in 1998 and they were absolutely directly responsible for igniting the first fires of The Kundalini and the journey which followed. His pentagram and insites into the temple at Rennes is the reality of where we are now, Too few know of his work and even fewer understand it. He was and is a genius and has unquestionably been gifted with receiving his own personal light and his works will live on far after those in the orthodoxy have gone below to their just rewards. His name, David Wood. And finally to my family who have had to live through some very bizarre times and thought patterns and who although they do not understand it all they sense that I may have stumbled onto something. And one last one for Angelica, my eldest who was watching as I was overlaying the pyramid onto The Celestine painting and having absolutely no success making the lines or anything meet. She looked at me and said "Dad, why don't you reverse the image of Celestine?", and the rest they say is history ! Before looking at the following images try to remember one thing. The Celestine painting is probably from around 1420 to 1430. This means that this EXACT SAME GEOMETRY was used in two paintings painted over 200 years apart in time. This geometry had to be part of what was being taught in the art schools, probably St Luke's Guild and it does absolutely point to Giza, The Great Pyramid and The Giza Plateau for how else to explain this exactness spread over 200 years ? And in my next installment we will go in search of the 'X' on my treasure map. Enjoy and wonder and think ... The main thing to notice here is the scale. The Celestine painting is very small. The Poussin painting is by no means a giant but what we are seeing here is an exact relationship in size between the two paintings. It is the exact same geometry. It is freaky in it's neatness and it can not ever, under any circumstances be deemed a fluke. The pattern is exact in size and scope yet they were painted 200 years apart. Either Poussin copied directly from this painting or the grid (which is absolutely the same) was drawn first on his canvas ! And the cut cross on Celestine's "key" matches exactly the pointing finger and the 'X'. It is amazing ! And I love it ! And the yellow "eye line". Beautiful ! To be continued ... Best Regards Don Barone
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Post by Charlotte on Feb 27, 2006 10:24:34 GMT -5
I thought I hade composed a nice post yesterday, but it flew out the window.
The short exchange between you, Don, and a poster named roscoe, hi roscoe, about the Blue Apples and grapes of Bacchus went right over my head. It would be nice to know "what this really means", presumably to do with the apples since Bacchus and grapes are no great mystery.
Hi kayos, can I answer for Don? Thank you.
You asked: "If the artists were initiates could they perhaps envision the symmetry as they painted? I would say "yes."
"Many years ago I read a book that postulated the ancient Egyptians had a culture in which art, language, music, and religion were all seamlessly interconnected."
Even from what little I understand by looking at their works and hearing their words I could agree with the pastulated.
Surely, the priests of Egypt were initiates, which again answers the additional questions of how the Pyramid Builders knew where the center of the land mass of the earth was at the time. I don't, and never have accepted the "agreed upon" version of just about anything our experts on Egypt and many other things have to say. I have more faith in the Arabian writers who "have purposely treated of the wonders of Egypt", given an account of the Pyramids, and tell they were built before the great flood to preserve the sciences.
I have not read anything by Veliskovsky apropos land masses sinking and rising, and "globe flipping", but learned more about it when I touched base with the teachings of Gurdjieff, and read some in the marvelous Creation Myths of the Hopi. And, of course, it brings up Plato's Atlantis.
Gurdjieff and the Hopi have a cosmic and earthly catastrophy, so does Plato. The former two versions are easier to understand, Plato's Atlantis is mind-boggling.
Charlotte
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Post by julia on Feb 27, 2006 22:06:38 GMT -5
Don,
So far we have Poussin and van Eyck. But Teniers supposedly also holds the key. Have you tried applying geometry to his painting of st. Anthony yet?
Ps. I read somewhere that Poussin's personal seal contained a hieroglyph. Can anybody confirm that?
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Post by Don Barone on Feb 28, 2006 6:11:15 GMT -5
Hi Julia ...
I have been unable to make Teniers: 'The Temptation of St. Anthony and St Paul ' reveal anything to me. However whatever is in Teniers painting IT IS DIFFERENT than the code and the grid used by Poussin and probably van Eyck. I have not given up just tired for the time being. There is a 4th painting involved as well (I think) and I will leave it for now for it is just a guess on my part. This mystery is a vortex and it draws one ever deeper into a variety of mysteries. What I have found although exciting and interesting is still but what is scrapped off the tip of a mountain when a little bird who once in every million years sharpens his beak on it and then quickly disappears. What is scrapped off by this little bird is what I have found. And interestingly, if you know the song, when the mountain is worn away it is but one day to eternity.
Cheers Don Barone
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Post by Charlotte on Feb 28, 2006 10:18:07 GMT -5
Hi Julia and Don,
It is problematic to ask questions here Julia because either only vage or no answers are forthcoming from a few people checking in now and then, but it is not much different on boards with more people posting, so we are left to do our own investigations - seemingly forever. It's the journey that counts, they say, and I'm inclined to agree.
It is hard keeping up with you Don, not the reading and looking at the beautiful art work and geometry, but taking time to study these things at lenght so an AHA can happen.
"This mystery is a vortex and it draws one ever deeper into a variety of mysteries." Yes, goes the axiom: "Abandon all hope ye who enter here." It seems the variety of mysteries all lead but to the greatest mystery of all, the one last thing Socrates asked of anyone who'd listen: do you know who you are?
So what else can we do but wear away the mountain arghhhhh.
Charlotte
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Post by BERNHARD on Feb 28, 2006 10:47:52 GMT -5
Dear Julia, --- the heraldic arms of Nicolas Poussin were the same used also by the french city of Evreux ( france/normandy/ located north from Paris ), according to a remark or notice made by J. Mingeon in his book "La France et ses Colonies" published in 1881 ! . ok, and here is a french summary concerning the city of EVREUX, showing a graphic of these heraldic arms as : fr.wikipedia.org/wiki/%C3%89vreux --- while looking at these heraldic symbols or signs, i can not (directly) detect a hieroglyphc symbol, hm, with some mystic energy, you may use the "baton" stick/cepter as part of a pharaonic scepter, or as part of the DJED pillar, but i guess, this goes too far !? why the same heraldic arms as those from Evreux !? one can speculate with the mystic role of the "dame blanche" =>> madame blanche d'evreux, residing also at Evreux (france/normandy) but about two centuries before Nicolas ! -- Evreux is near the location (Les Andelys) where Nicolas P. was born, and spent his youth. i have to mention, that here at Les Andelys you will find the museum of Nicolas Poussin ! regarding some Templar/ec.. speculation on blanche Evreux you can read here: www.newpara.com/Hugo%20Grand%20Master%20of%20Priory%20of%20Sion.htm -- in the same context some stuff at : posaz.mysite.wanadoo-members.co.uk/poshome.html -- or the relation with Evreux was due to its father's JEAN position and work at the court of the family of NAVARRA ( Henry from Navarra ) -- and Blanche d'Evreux was a member of the Navarra's !? -- ok, so far for today ! best regards; Bernie
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Post by morph on Feb 28, 2006 11:23:49 GMT -5
Hi Don, here's a little suggestion for you, it's from a drawing someone sent me today from Belgium having seen my page on Vezalay; homepage.ntlworld.com/morph225/ghent.htmhomepage.ntlworld.com/morph225/vezelay.htmBasically living in Belgium he knows that Ghent is on a vertical axis with Vezelay, and he'd probably know all about Van Eyck and his connections to the place too. Anyway, take a look were the Kings chamber is...!!!...and also i'm reminded of someone who did a page on Nois near Nevers (see underground chamber) as the reversal of Sion on the parchment scroll. Morph.
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Post by morph on Feb 28, 2006 11:46:04 GMT -5
Now that's a bit spooky discussing Evreux when it is on the pyramid diagram i just had sent...i'd never heard of the place before until i read the post and thought i'd seen the name somewhere before.
Morph
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Post by BERNHARD on Feb 28, 2006 12:46:24 GMT -5
Dear Morph, i was referring to Julia's question regarding "an hieroglyph" in the heraldic arms of N. Poussin. my informations or spooky speculation were not given primarily in relation with the GP-pyramid discussion ! best regards: Bernie
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Post by morph on Feb 28, 2006 13:31:12 GMT -5
Hi Bernhard,
indeed, but very curious all the same, i posted what i did regarding a 'pyramid' centred upon Vezelay and included in the diagramatic is the town of Evreux, then saw your mentioning of the name and double checked. The weird thing is that the pole on the coat of arms of Evreux is the angle of Evreux to Vezelay...weird.
regards,
Morph.
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Post by Don Barone on Mar 1, 2006 7:05:01 GMT -5
Hi Charlotte You wrote: I am also very unnerved by not necessarily the lack of response but the lack of comments. My website has seen 3224 visitors since Feb. 24th yet the number of posts posted on what I have written would probably take no more than two hands to count. How to explain this? I am not really sure. You would expect either strong negative, or strong positive. A lack of response leads me to hope that others are checking the methodology and checking to see if I have got at least the geometry part correct. Charlotte yes we agree in the fact that it is the journey and only the journey that counts. Like Jason and Parsifal and other heroes of other legends who went on a search, we are all on our quest for The Holy Grail of knowledge and of the why. As Chris de Burgh sung in his song "Carry On" and where he informs us while whispering backwards that the universe is calling. " The question is always the same .. Where are we going ? " Carry On words and music by Chris de Burgh
Whatever the words that you hear, Somehow the meaning is clear, We're all on the same ship together, moving on,
From the first time that life could be heard, To the last sounds of men on this earth, The question is always the same, where are we going, where are we going?
Ooh carry on, carry on, There's a silver light beside you, Take the hand that's there to guide you Through this night to where we came from, Carry on, carry on, When the autumn leaves are falling, And you hear the voices calling you away, Then do not fear, you'll carry on, Carry on, carry on...
Love is the daughter of life, comfort to trouble and strife, She's always beside you to help you carry on,
Oh they say that the stars in the sky, Are the souls of the people who die, Will we meet them again when we reach our destination?
Sratseht rofesruo cates, Nwonknu no it anitsed, Dlroweht gnillacsi esrevinu eht, Ecalp gnitser lanif dnatsal rehs-drawot,
Ooh carry on, carry on, There's a silver light beside you, Take the hand that's there to guide you Through this night to where we came from, Carry on, carry on, When the autumn leaves are falling, And you hear the voices calling you away, Then do not fear, you'll carry on, carry on, Carry on, carry on...ooh carry on... Here is what Chris whispers backwards [The White Knight is talking backwards ... ] Sratseht rofesruo cates, [Set a course for the stars] Nwonknu no it anitsed, [destination unknown] Dlroweht gnillacsi esrevinu eht, [The universe is calling the world] Ecalp gnitser lanif dnatsal rehs-drawot, [towards here last and final resting place] Why does Chris put this in his song ? Some have accused him of being accursed and even to be "The Devil". I at first thought these rumours were bizarre but then what of this song ? As Mark Harlem has continually tried to explain to me ... "In the beginning was "The Word" [Greek 'gnosis] (knowledge ?) ... AND THE WORD WAS GOD !"Remember my friends ... Carry on ! Regards Don Barone
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Post by BERNHARD on Mar 1, 2006 8:35:42 GMT -5
Dear Don, and Charlotte, Morph, Julia, Daz .. , and all million visitors here , i can understand Your dissapointment regarding the missing feedback on this subject ! you worked about it for weeks, months, and possibly for some some years, beside all the urgent private things to be done ( family, job , and so on ! ) . then You publish it, believing on it, waiting for the reaction, and then, only some drops of feedback. one aspect is certainly, the fact, that it is a complex stuff, somehow mathematical, with relations to several other topics. and not to forget: in the last decades many people wrote "similar" looking articles with all kind of mathematical and esoteric or mystical elaborations , focusing on the GP-construction, or the whole GIZA-area ! for many people, it simply looks like another tricky concept of an "pyramidiot" ( attention: to be sure : i myself do NOT like such unfair words !! ) . on the other hand, one need many time to study and analyze this interesting subject, as you know the best ! i myself have not the time,. for the moment, to have a concentrate look on all details, the ideas behind. oh yes, this is sad, but it is so !! -------- by the way: on my favorite Nicolas Poussin website ( in french) i found a nice, very impressing painting, from a romantic painter, L-D Thienon, showing the location "petits Andelys", where Nicolas Poussin was born ! ok, the painting was done several years later, but this small settlement "petits Andelys" seemed to be very unchanged since the days of Nicolas. i believe, that this landscape inspired and formed young Nicolas' mind as well !? look here at: visualiseur.bnf.fr/Visualiseur?Destination=Gallica&O=IFN-7740576 --- all to be found on my favorite POUSSIN-site at : agora.qc.ca/mot.nsf/Dossiers/Nicolas_Poussin -- best regards as always: Bernie
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Post by Charlotte on Mar 1, 2006 19:25:29 GMT -5
I had a short day and should have my brakes done and oil changed, but you know, priotities, and I'm happy to see Du bist noch nicht erfroren Bernhard And don't knock the "million of visitors here", we are happy with a few and the best. All this what we are looking at here and reading is spreading out ever bigger like a tapestry from Egypt to France and to England, monuments, temples, paintings and landscape. Bernhard, you mentioned the court of Henry of Navarro. It is said that when Francis Bacon saw Queen Marguerite of Navarro "he swooned away so affected was he by her loveliness." The picture looks huge, huge to me and impossible to grasp at the moment. When I look at a part I loose sight of the whole, and when I look at the whole I can't keep track of the parts within it. Can you people do this, and if so, how? I have to agree with Bernhard, Don, about the lack of comments on your work, namely, that it is so complex that one doesn't know where to begin, much less pull everything into a coherent picture. Aside from Morph, pardon me, you have years of studying these things and can talk about it more than anybody here, and together with a few other people who have looked at the subject closer on other boards. Like you noted somebody saying: "There is plenty here for all of us", or each restores a thread of the tapestry so we can see the images on it clearer. Untill then there can be no strong positive or negative response because most of us are unsure lol, in my opinion of course. I often wonder why people emphasise this because when voicing one's thoughts, who elses opinon can it be. The thing about the methodology irritates me too more or less at times, depending on the poster, you know I came to understanding of some things using no methodology at all The universe is calling, sings Chris de Burgh while whispering backwards, that's just it in the reverse: what comes down must go up, so that answers the question "where are we going?" All things are subject to this law; things go one way and at a critical point the must reverse to retain balance. We can somewhat follow the development of things from Egypt to Greece to Rome to the Renaissance to the English Renaissance to New England and the founding of America. Who were the Arabian writers, "especially such as have purposely treated of the wonders of Egypt", who related that there was a deluge to come, upon which, "in the mean space", the King commanded the Pyramids to be built to preserve the science of Astronomy, Astrology, Arithmeticke, Geometry, and Physicke; and also "a vault (or cisterne) should be made, into which the river Nilus can enter, from whence it should runne into the countries of the West, and into the land Al-Said." Well, the river Nilus doesn't runne into the countries of the West, but their knowledge certainly did and does continuously, amazing! The land of Al-Said means, sort of, the land of the slaves, I was told in Egypt. Charlotte PS I must read the books by David Wood, can you give me the titles please Don
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Post by Don Barone on Mar 1, 2006 20:08:25 GMT -5
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Post by julia on Mar 1, 2006 22:39:46 GMT -5
Hi Bernhard,
Thanks for the info. In regards to the seal of Poussin - there apparently are no hieroglyphs in the Evreux pic you linked to, but I did manage to figure out where I had read about it. It was Tony Green, the author of a book about Poussin (which I have not read, btw), who claimed that. I have emailed him and am awaiting his response.
Best, [glow=red,2,300]Julia[/glow]
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Post by julia on Mar 1, 2006 22:51:53 GMT -5
LOL Charlotte. And you guys wonder why so very few people dare to post comments here. Best, [glow=red,2,300]J[/glow]
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Post by BERNHARD on Mar 2, 2006 7:54:05 GMT -5
dear ALL, i really do appreciate the work of Don and others in this context. much better to think and work on such complex themes or subjects, with no regards if of esoteric, mystic or strange (etc..) contents. of course very much better than to sit in front of a TV, watching those dumb soap-operas, endless silly tv-talks, PR-clips, agressive "action" and crime movies, news of war and catastrophies, and other so negative and senseless informational food, while sitting there, and permanently eating junk-food. no wonder, that this kind of "human culture" produces more and more ill people: ill in their brain, ill in their body, ill in their behaviour and activities: finally human wrecks even in the best years of their life ! ---- now something more positive: i decided to inform You on the top new NEIL DIAMOND CD "12 songs" ( are 14 songs ) , cause it may be of interest not only for DON's big music archive ! well, i got it yesterday, played it after coming home around midnight ! and YES: indeed an excellent CD ! good old NEIL, his producer and the musicians involved made a dammed good disc !! not a dance-music, not for jumping around with a "jumpin' jack flash"-hype, but a wonderful intimate music, more quiet, with a classical touch, not so orchestral, bombastic and overloaded as many of the earlier ones, no-no ! songs to dim the light, to sit comfortable on your couch, having a cup of wine, only listening and feeling good, sometimes with a tender touch of melancholy, but not a depression, selfreflecting on what life has done AND offered to you. in every case, a "must" for not only Neil Diamond fans. i enjoyed this CD; and i am really satisfied ! a cd you can surely play and enjoy several times, still detecting new fine aspects ! -- ok: so far for today: Bernie ---- to Lotte now: " ich lebe noch, bin nicht erfroren, aber der winter geht mir langsam aber sicher auf den A.sch ! wie freue ich mich auf die ersten lauen lueftchen des irgendwann hoffentlich nahenden fruehlings !! .. " Hi Bernhard I usually don't do this but here is the link: Neil Diamond: 12 Songs cheers db
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Post by BERNHARD on Mar 2, 2006 9:18:41 GMT -5
Dear Julia, found something in this Poussin<->Hieroglyph context at : --- but its too much for me to study and criticize the whole stuff just right now, but nevertheless it may be of interest to You !? best regards: Bernie
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Post by Charlotte on Mar 2, 2006 11:03:58 GMT -5
Everyone seems to be in a good mood today, me too so it is possible to dance in a world deprived of lofty thoughts and noble asspirirations, almost dead. Hi Julia, The great thing on this board is that anybody could post anything, above and below, outlandish or impirical, serious or silly, whatever . . ., without being labeled or insulted. The song goes: "Do you really think I care what you eat or what you ware, want you to join together with the band!" You are the best Don always providing visuals with your words. Thanks for the books, so to speak, and don't loose heart when it becomes too much, tomorrow is another day LOL Bernhard, die lauen Lüftchen kommen, had forgotten this poetic and tender word "lauen", thanks. While I'm out buying books I will also pick up the cd by my old friend Neil, love dancing to some of his songs, you know we'll always be forever in blue jeans. I forgot to say some things yesterday, and today I overslept, maybe this why I feel particularely good for no apparent reason, didn't even have a nice dream. Much happiness to all. Charlotte Oops, just saw that its kuchroog's birthday. Happy Birthday to you and all the best life has to offer, always. Charlotte
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Post by morph on Mar 2, 2006 15:22:27 GMT -5
Actually the best way to realise the proportions of the Great Pyramid in Et in Arcadia is the one you suggested to me in terms of repating the image lower down such that the angles of the staff iintersection point corresponded with the pointing finger. When that is done then this neccesitates an overlap of one grid square and gives a greater rectangle of 7 x 9 proportion. Now if one determines the midpoint of that through the diagonals it can be seen that the Great Pyramid is naturally fitting to those angles, and you have in fact created a rectangle that naturally fits two such proportions, take a look; homepage.ntlworld.com/morph225/pyramids.htmNote that having done this the angle of the shepherd in reds staff describes the entrance into the Kings chamber n thelower pyramid and the Queens in the upper, whilst the angle of staff of shepherd in white has determined the Queens chamber entrance in the lower. If still not convinced look at the Teniers..!!! regards to all, Morph.
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Post by Don Barone on Mar 2, 2006 16:19:54 GMT -5
Morph if I could suggest ...
Put the pyramids on top of each other yes but perhaps you should try ... tip to tip or apex to apex. Might be revealing.
Cheers Don Barone
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Post by morph on Mar 2, 2006 16:46:22 GMT -5
I've put one on, that still gives the same Kings Chamber correspondance for the Shepherd in red, and does also describe his somewhat awkward posture a little.
Morph
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Post by Don Barone on Mar 2, 2006 17:00:43 GMT -5
Hmmm ... not as revealing as I had hoped I see no major things with that image. However Part III of mine is coming soon (I hope as I have felt lousy all day and this on my day off ] Cheers maybe tomorrow I will feel better and can move onto a another image and painting from Poussin. Cheers Don Barone
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Post by morph on Mar 2, 2006 17:38:19 GMT -5
It should also be added that the line that describes the entrance to the King and Queens chambers also describes the entrance into the underground chamber, albeit were it has imposed onto the lower pyramid from the top, three in one, thrice great.
Now if i was going to suggest an undiscovered secret chamber that would be it, the correspondance to the underground chamber...very cunning.
Morph
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Post by roscoe on Mar 6, 2006 4:53:45 GMT -5
Hi Julia ... I have been unable to make Teniers: 'The Temptation of St. Anthony and St Paul ' reveal anything to me. However whatever is in Teniers painting IT IS DIFFERENT than the code and the grid used by Poussin and probably van Eyck. I have not given up just tired for the time being. There is a 4th painting involved as well (I think) and I will leave it for now for it is just a guess on my part. This mystery is a vortex and it draws one ever deeper into a variety of mysteries. What I have found although exciting and interesting is still but what is scrapped off the tip of a mountain when a little bird who once in every million years sharpens his beak on it and then quickly disappears. What is scrapped off by this little bird is what I have found. And interestingly, if you know the song, when the mountain is worn away it is but one day to eternity. Cheers Don Barone The Teniers painting deals with timing as this: indicates. Perhaps you'd like to see this: It's from a collection made by Robert Boyle a contemporary of Nicolas Poussin who was the eighteenth Grand Master of the Priory of Sion 1654-91(according to the Dossiers Secrets) who took over from J Valentin Andrea who wrote the Rosicrucian Manifestos and immediately before Isaac Newton who needs no introduction.
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Post by Don Barone on Mar 6, 2006 6:10:44 GMT -5
Hi Roscoe ...
Perhaps you would like to explain the image to us. I see four circles however maybe the first three have diameters equal to the three pyramids. It is the only connection I can see at the moment.
Cheers Don Barone
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