342. Once again: ... The earliest depiction that has been linked to the constellation of Orion is a prehistoric (Aurignacian) mammoth ivory carving found in a cave in the Ach valley in Germany in 1979. Archaeologists have estimated it to have been fashioned approximately 32,000 to 38,000 years ago ... The artist cut, smoothed and carved one side (A) and finely notched the other side (B) and the edges. Side A contains the half-relief of an anthropoidal figure, either human or a human-feline hybrid, known as the 'adorant' because its arms are raised as if in an act of worship.
On side B together with the four edges is a series of notches that are clearly set in an intentional pattern. The edges contain a total of 39 notches in groups of 6, 13, 7 and 13. A further 49 notches on side B are arranged in four vertical lines of 13, 10, 12 and 13 respectively plus a further notch that could be in either of the middle two lines ... The grouping of the notches on the plate suggests a time-related sequence. The total number of notches (88) not only coincides with the number of days in 3 lunations (88.5) but also approximately with the number of days when the star Betelgeuse (α Ori) disappeared from view each year between its heliacal set (about 14 days before the spring equinox around 33,000 BP) and its heliacal rise (approximately 19 days before the summer solstice). Conversely, the nine-month period when Orion was visible in the sky approximately matched the duration of human pregnancy, and the timing of the heliacal rise in early summer would have facilitated a ‘rule of thumb’ whereby, by timing conception close to the reappearance of the constellation, it could be ensured that a birth would take place after the severe winter half-year, but leaving enough time for sufficient nutrition of the baby before the beginning of the next winter. There is a resemblance between the anthropoid on side A and the constellation Orion. None of these factors is convincing when taken in isolation, because of the high probability that apparently significant structural and numerical coincidences might have arisen fortuitously. However, taken together they suggest that the anthropoid represented an asterism equivalent to today’s constellation of Orion, and that the ivory plate as a whole related to a system of time reckoning linked to the moon and to human pregnancy. If so, then ethnographic comparisons would suggest that the Geißenklösterle culture related their ‘anthropoid’ asterism to perceived cycles of cosmic power and fertility ...
... On February 9 the Chorti Ah K'in, 'diviners', begin the agricultural year. Both the 260-day cycle and the solar year are used in setting dates for religious and agricultural ceremonies, especially when those rituals fall at the same time in both calendars. The ceremony begins when the diviners go to a sacred spring where they choose five stones with the proper shape and color. These stones will mark the five positions of the sacred cosmogram created by the ritual. When the stones are brought back to the ceremonial house, two diviners start the ritual by placing the stones on a table in a careful pattern that reproduces the schematic of the universe. At the same time, helpers under the table replace last year's diagram with the new one. They believe that by placing the cosmic diagram under the base of God at the center of the world they demonstrate that God dominates the universe. The priests place the stones in a very particular order. First the stone that corresponds to the sun in the eastern, sunrise position of summer solstice is set down; then the stone corresponding to the western, sunset position of the same solstice. This is followed by stones representing the western, sunset position of the winter solstice, then its eastern, sunrise position. Together these four stones form a square. They sit at the four corners of the square just as we saw in the Creation story from the Classic period and in the Popol Vuh. Finally, the center stone is placed to form the ancient five-point sign modern researchers called the quincunx ...
... In the inscriptions of Dendera, published by Dümichen, the goddess Hathor is called 'lady of every joy'. For once, Dümichen adds: Literally ... 'the lady of every heart circuit'. This is not to say that the Egyptians had discovered the circulation of the blood. But the determinative sign for 'heart' often figures as the plumb bob at the end of a plumb line coming from a well-known astronomical or surveying device, the merkhet. Evidently, 'heart' is something very specific, as it were the 'center of gravity' ... See Aeg.Wb. 2, pp. 55f. for sign of the heart (ib) as expressing generally 'the middle, the center'. And this may lead in quite another direction. The Arabs preserved a name for Canopus - besides calling the star Kalb at-tai-man ('heart of the south') ... Suhail el-wezn, 'Canopus Ponderosus', the heavy-weighing Canopus, a name promptly declared meaningless by the experts, but which could well have belonged to an archaic system in which Canopus was the weight at the end of the plumb line, as befitted its important position as a heavy star at the South Pole of the 'waters below'. Here is a chain of inferences which might or might not be valid, but it is allowable to test it, and no inference at all would come from the 'lady of every joy'. The line seems to state that Hathor (= Hat Hor, 'House of Horus') 'rules' the revolution of a specific celestial body - whether or not Canopus is alluded to - or, if we can trust the translation 'every', the revolution of all celestial bodies. As concerns the identity of the ruling lady, the greater possibility speaks for Sirius, but Venus cannot be excluded; in Mexico, too, Venus is called 'heart of the earth'. The reader is invited to imagine for himself what many thousands of such pseudo-primitive or poetic interpretations must lead to: a disfigured interpretation of Egyptian intellectual life ...
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