... The first emperor of China (Shih Huang Ti) had an enormous subterranean palace built for him as a proper place for his burial. It has been described in detail, and the ceiling (cfr French ciel, sky) was like the night sky with all its stars, whereas the floor was submerged under liquid mercury (reflecting the stars above). The beginning was at the bottom and at the top was the end. And recent archeological excavations at Teotihuacan, under the pyramid of Quetzal Coatl (the Serpent with feathers from the Quetzal bird), have revealed a similar subterranean lake filled with mercury ...

There have also been strange archeological findings from different places around the world of layers of mica below edifices. Mica resembles mercury in having a shining flat surface and little resistance to force. This is the opposite of the hard and upright oak tree of endurance.

Virgo was Mother Earth.

In Virgo was the sign of Mercury - between Furrow and Frond:


Mars	Jupiter	Mercury
March Hare	Do(o)rmouse	Mad Hatter
... When Gwion writes in the Câd Goddeu, 'Stout Guardian of the door, His name in every tongue', he is saying that doors are customarily made of oak as the strongest and toughest wood and that 'Duir', the Beth-Luis-Nion name for 'Oak', means 'door' in many European languages including Old Goidelic dorus, Latin foris, Greek thura, and German tür, all derived from the Sanskrit Dwr, and that Daleth, the Hebrew letter D, means 'Door' - the 'l' being originally an 'r'.

The pivotal point - where up was turned into down - ought to come after Canopus (alias Agastiya) who had drank up all the waters.

6 days after Canopus was the brilliant Sirius, in the center of the Egyptian X, at the nose of the Great Dog:

... In ancient Egypt they thought Sirius was behind the yearly rise of the Nile ... the seasonal cycle, throughout the ancient world, was the foremost sign of rebirth following death, and in Egypt the chronometer of this cycle was the annual flooding of the Nile. Numerous festival edifices were constructed, incensed, and consecrated; a throne hall wherein the king should sit while approached in obeisance by the gods and their priesthoods (who in a crueler time would have been the registrars of his death); a large court for the presentation of mimes, processions, and other such visual events; and finally a palace-chapel into which the god-king would retire for his changes of costume ...

... Instead of that old, dark, terrible drama of the king's death, which had formerly been played to the hilt, the audience now watched a solemn symbolic mime, the Sed festival, in which the king renewed his pharaonic warrant without submitting to the personal inconvenience of a literal death.

The rite was celebrated, some authorities believe, according to a cycle of thirty years, regardless of the dating of the reigns; others have it, however, that the only scheduling factor was the king's own desire and command. Either way, the real hero of the great occasion was no longer the timeless Pharaoh (capital P), who puts on pharaohs, like clothes, and puts them off, but the living garment of flesh and bone, this particular pharaoh So-and-so, who, instead of giving himself to the part, now had found a way to keep the part to himself. And this he did simply by stepping the mythological image down one degree. Instead of Pharaoh changing pharaohs, it was the pharaoh who changed costumes.

The season of year for this royal ballet was the same as that proper to a coronation; the first five days of the first month of the 'Season of Coming Forth', when the hillocks and fields, following the inundation of the Nile, were again emerging from the waters. For the seasonal cycle, throughout the ancient world, was the foremost sign of rebirth following death, and in Egypt the chronometer of this cycle was the annual flooding of the Nile. Numerous festival edifices were constructed, incensed, and consecrated; a throne hall wherein the king should sit while approached in obeisance by the gods and their priesthoods (who in a crueler time would have been the registrars of his death); a large court for the presentation of mimes, processions, and other such visual events; and finally a palace-chapel into which the god-king would retire for his changes of costume.

Five days of illumination, called the 'Lighting of the Flame' (which in the earlier reading of this miracle play would have followed the quenching of the fires on the dark night of the moon when the king was ritually slain), preceded the five days of the festival itself; and then the solemn occasion (ad majorem dei gloriam) commenced. The opening rites were under the patronage of Hathor. The king, wearing the belt with her four faces and the tail of her mighty bull, moved in numerious processions, preceded by his four standards, from one temple to the next, presenting favors (not offerings) to the gods.

Whereafter the priesthoods arrived in homage before his throne, bearing the symbols of their gods. More processions followed, during which, the king moved about - as Professor Frankfort states in his account - 'like the shuttle in a great loom' to re-create the fabric of his domain, into which the cosmic powers represented by the gods, no less than the people of the land, were to be woven ...

The king, wearing now a short, stiff archaic mantle, walks in a grave and stately manner to the sanctuary of the wolf-god Upwaut, the 'Opener of the Way', where he anoints the sacred standard and, preceded by this, marches to the palace chapel, into which he disappears. A period of time elapses during which the pharaoh is no longer manifest. When he reappears he is clothed as in the Narmer palette, wearing the kilt with Hathor belt and bull's tail attatched. In his right hand he holds the flail scepter and in his left, instead of the usual crook of the Good Shepherd, an object resembling a small scroll, called the Will, the House Document, or Secret of the Two Partners, which he exhibits in triumph, proclaiming to all in attendance that it was given him by his dead father Osiris, in the presence of the earth-god Geb. 'I have run', he cries, 'holding the Secret of the Two Partners, the Will that my father has given me before Geb. I have passed through the land and touched the four sides of it. I traverse it as I desire.'

... Ebony label EA 32650 from Den's tomb. The upper right register depicts king Den twice: at the left he is sitting in his Hebsed pavilion, at the right he is running a symbolic race around D-shaped markings. This ceremony is connected to the so-called 'race of the Apis bull'. The middle right section reports about the raid of the city 'beautiful door' and about a daughter of Den suffering from an unknown disease. The lower right section reports about the visitation of the 'souls of Peh' at the royal domain 'Wenet'. The left part of the label describes the content of the vessel that once belonged to the label and mentions the high official Hemaka, who was obviously responsible for the delivery of the labeled jar ...

... Ebony is a dense black wood, most commonly yielded by several different species in the genus Diospyros. Ebony is dense enough to sink in water ...


Eb6-1	maitaki	Ca5-12


Ca5-12	Ca5-13	Ca5-14	Ca5-15	Ca5-16 (121)
te maitaki	te henua	kua haga te mea ke	manu puoko i tona ahi	kua heu te huki
January 15 NOVEMBER 12	16 13	17 14	18 15	19 (384) 16 (320)
*ALTAIR (300)**
July 16 MAY 13	17 14	18 15 (135)	19 (200) 16	20 17
	118 (= 4 29½)			*NAOS (121)**

... Pliny wants to assure us that 'the whole sea is conscious of the rise of that star, as is most clearly seen in the Dardanelles, for sea-weed and fishes float on the surface, and everything is turned up from the bottom'. He also remarks that at the rising of the Dog-Star the wine in the cellars begins to stir up and that the still waters move ...

It was Sirius who restored the waters which Canopus had consumed.

... The life-force of the earth is water. God moulded the earth with water. Blood too he made out of water. Even in a stone there is this force, for there is moisture in everything. But if Nummo is water, it also produces copper. When the sky is overcast, the sun's rays may be seen materializing on the misty horizon. These rays, excreted by the spirits, are of copper and are light. They are water too, because they uphold the earth's moisture as it rises. The Pair excrete light, because they are also light ...

'The sun's rays,' he went on, 'are fire and the Nummo's excrement. It is the rays which give the sun its strength. It is the Nummo who gives life to this star, for the sun is in some sort a star.' It was difficult to get him to explain what he meant by this obscure statement. The Nazarene made more than one fruitless effort to understand this part of the cosmogony; he could not discover any chink or crack through which to apprehend its meaning. He was moreover confronted with identifications which no European, that is, no average rational European, could admit. He felt himself humiliated, though not disagreeably so, at finding that his informant regarded fire and water as complementary, and not as opposites. The rays of light and heat draw the water up, and also cause it to descend again in the form of rain. That is all to the good. The movement created by this coming and going is a good thing. By means of the rays the Nummo draws out, and gives back the life-force. This movement indeed makes life.

The old man realized that he was now at a critical point. If the Nazarene did not understand this business of coming and going, he would not understand anything else. He wanted to say that what made life was not so much force as the movement of forces. He reverted to the idea of a universal shuttle service. 'The rays drink up the little waters of the earth, the shallow pools, making them rise, and then descend again in rain.' Then, leaving aside the question of water, he summed up his argument: 'To draw up and then return what one had drawn - that is the life of the world.'