I’ve mentioned some ancient mysteries in previous posts, but haven’t covered all of them by any means. One such mystery is how the ancients built in stone, using extremely large, but finely cut stones, and placing them so precisely that one could still not insert a sheet of paper between them. Building with stone is difficult enough when using 2-5 ton blocks. A whole new order of difficulty arises when using 40-50 ton blocks, or even blocks weighing hundreds of tons. The most amazing example of this, among many, is a platform built in Baalbek, in Lebanon, which includes three blocks weighing at least 1,000 tons apiece. How were they cut, how were they moved, and how were they placed, since the blocks aren’t at the bottom of the wall?
The same is true of Macchu Picchu in Bolivia, as well as numerous sites in Egypt. We use cranes to lift large weights, but don’t have cranes big enough to move these–at least not without considerable trouble.
Since the Great Pyramid in Egypt contains over two million blocks, and is said to have been constructed in about 20 years, the difficulty increases. That would mean placing a large number of blocks every minute, something we would find impossible. Add to that the extreme precision with which the stones were cut, and the whole thing seems absurd. Christopher Dunn, a machinist for 30 years, found that the stones of the Great Pyramid were cut to within a tolerance of 0.01. Inquiring at a quarry in the USA, he was told that they cut to a tolerance of about 1/4 inch, an immense difference. The Pyramid is also aligned almost perfectly to north, south, east and west, the corners of it form perfect 90 degree angles, and the length of the base on each side is almost exactly equal. We don’t build on that scale to begin with, and construction generally is considerably more easy-going. Extreme precision isn’t needed to build perfectly adequate buildings.
So Dunn asked, why such precision? No one makes anything that way without a good reason. It’s far more difficult than building with approximate measurements. His answer was that the Pyramid must have been used for something that required precision. His theory, not necessarily true, was that the Pyramid was used to generate and broadcast power by resonating with the sounds of movement within the earth. Whether or not this theory is accurate, his observations pretty much destroy the argument that the pyramids were tombs, and nothing but tombs. That is, if it weren’t enough that no mummies or treasure have been found in any of the major pyramids.
Even if the Pyramid had a practical purpose like the one Dunn suggests, that’s evidently not its only purpose. Its construction embodies mathematical concepts that are supposed to only have been discovered much later, like pi and the Golden Section. Besides that, the Pyramid has been found to be a representation of the northern hemisphere of this planet, on a scale of 1/43,200. That number has significance, and we’ll return to it.
George Gurdjieff, whom I’ve mentioned in previous posts, was very interested in the past, and felt that our perception of it is distorted. One thing that stimulated his interest was when he heard of the translation of the epic of Gilgamesh from clay tablets discovered in the Middle East. He found this interesting, because his father was a bard, who knew many ancient stories, and he had heard this one from his father. It had survived for about 5,000 years among ordinary people. He felt that there was something that people once had known which most people no longer did, and decided to search for it, whatever it was.
Going to Egypt, and standing in front of the pyramids, he met a man with similar intererests, and they decided to travel together, and eventually formed a group of searchers. They discovered quite a lot. One of the things he discovered was what he called a “legominism”, which he defined as a work of art which expressed more than what it seemed to express on the surface. The Great Pyramid is a legominism par excellance, and we haven’t discovered all its secrets yet by any means.
Graham Hancock, in Fingerprints of the Gods, cites a publication by Giorgio de Santillana and Hertha von Dechend, called Hamlet’s Mill, in which they find that a great many of the ancient stories of this world have things in common. Some of these things are numbers having to do with precession of the equinoxes.
Precession of the equinoxes is caused by a wobble in the earth’s rotation, which is very difficult to observe, since it takes a long time for anything observable to happen. It refers to the sun rising into a particular constellation during the Spring Equinox. For the past 2,000 years it has been rising into the constellation of Pisces, but sometime within the next couple of hundred years it will begin rising into the constellation of Aquarius. That’s what the song, The Age of Aquarius referred to about 40 years ago. They refer to Hamlet because Shakespeare took his character from an Icelandic one involved in a “fairy tale.” In this tale four women are grinding grain, but aren’t allowed to rest. In anger, they begin grinding faster and faster, until the machine they’re using bursts apart, with appalling consequences. The grinding machine represents precession, which could indeed be compared to grinding as being a very slow process. It takes almost exactly 72 years for the sun to move one degree through the constellation through which it rises on the Spring Equinox. 72 multiplied by six give 432, the number of years it takes for the sun to move through six degrees of the constellation. The stories Santillana and von Dechend cite often have multiples and other permutations of the basic number of 72. For example, when the Egyptian god Set decided to murder his brother, Osiris, he had 72 followers to help him. And remember that the Great Pyramid is also a representation of the northern hemisphere of the earth, at a scaled of 43,200 to 1. Another example of precessional numbers.
What the story seems to be saying is that when precession moves the sunrise from one constellation to another, bad things, even catastrophic things, are likely to happen. One such precession occurred during the postlude of the last Ice Age, perhaps 12,000 years ago. This may well be the era from which legends of the Great Flood come, as well as legends of the destruction of Atlantis. According to Hancock, the Ice Age reached its fullest extent about 17,000 BC, but about 15,000 BC it was effectively over. The after-effects were not, though. These probably included flooding, from the melted ice, earthquakes as the tremendous weight of ice disappeared, and many huge volcanic eruptions. During this time many species went extinct, particularly in North and South America. Mammoths, giant sloths, giant beavers, camels and horses were some of the species destroyed in North America. In South America many elephants, as well as a whole family of animals related to the hippopotamus. Images of elephants and and the relatives of the hippopotamus were carved on a building called the Kalasasaya, in Tiahuanaco, in Bolivia. The carvings are very intricate, and would seem to have been done a very long time ago, since the animals depicted are not imaginary. We know they once existed in South America, but they have been extinct a very long time.
Who could have done these carvings? Mainstream archaeology doesn’t think there was any kind of high culture anywhere in the world in approximately 15,000 BC, let alone one that could produce such sophisticated art. There may be an answer in the legends of the native people in the area.
Legend has it that after a time of great destruction, a white man with long hair and a beard came to the western side of South America, and began teaching the natives the skills of civilization: how to make and wear clothes, how to build, agriculature, medicine, law, etc. He had unusual powers: he could heal by laying his hands on a sufferer, and was able to “supernaturally” protect himself from anyone who tried to harm him. He was called Viracocha (Foam from the Sea), and after staying there for sometime, left, perhaps walking on the water of the Pacific, and promised to return.
Interestingly, the Egyptian god Osiris is described in similar terms: also white, and also a civilizer, putting an end to cannibalism, teaching people agriculture, building, and law. He also eventually left Egypt to carry his mission to other areas.
He may also have been the original model for the Hamlet figure, whom Shakespeare used. The figure of Hamlet, which had a long ancestry, is always portrayed in the same way: intelligent, unhappy, seeking revenge for his father’s death, and there’s also incest and a dog often involved. Osiris and Isis were brother and sister, and their son Horus sought revenge for the murder of Osiris by Set, his and Isis’s brother. In the play Hamlet’s uncle is also the target for his revenge.
Such recurring situations seem to have significance, even if we can’t say just what it is. Santillana and von Dechend are suggesting that someone somehow used ancient folktales to convey a meaning that we haven’t yet managed to decode. How this could be done, and by whom, since if it was done, it was a very long time ago, is difficult to say. But it does seem to tell us that there was an very ancient very high civilization that we have almost entirely forgotten. If they were trying to send their extremely remote descendents a message, we might expect that it’s a very important one.