Can we know the Pattern of the Past?

The Ptolemaic Temple at Edfu in Egypt is of particular importance, as its Annals yield information which can hardly be gathered elsewhere. An overall study of the wealth of the Annals in this temple shows that in particular the texts engraved on the prominent architectural parts of the temple, are of vital interest for the study of the prehistoric origin of our civilization. It can rightly be said that these inscriptions open a new way of approach to the study of our origin.

I think that the first era of the primaeval domains was on the Island of Trampling (at present the guyot of the Great Meteor in the Atlantic Ocean), in that place the primaeval domain (niwt) was created. Those islands are the Geomorphological representation of the Arm and of the 3 sunken islands of Atlantis, the southernmost of which is called Great Meteor and the 2 lesser islands are now called the Cruiser Seamounts. The volcanic island iw titi, ‘Island of Trampling’, the Great Meteor, was the most important island, the island on which creation took place according to the Edfu Annals (Edfu IV. 358,13 and VI. 181, 12 and 13). That island rose up out of the waves and was located at the far end, at the outer edge of the ‘known’ world. (Ges-wa’ret) The islands are the nucleus of the anti-diluvium world.

The Throwstick (see ‘Badarians’ below) appears as Egyptian hieroglyph T15 (Egyptian Grammar, Sir Alan Gardiner, p. 513). It is a weapon and very old. First, it was found in the prehistoric settlement El Badari (5,000-4,000 BC). See the text and the picture in the book Badarians (Guy Brunton/Gertrude Caton-Thompson) below. However, the Throwstick or Club was the emblem of the land To Tehenu (Libya), the Olive-land. Ludwig Keimer wrote a very interesting article about that issue (BIFAO 31, 1931, p.121-134) about the earlier study of Newberry. Newberry discovered a Throwstick (see fig. Le signe) in a tomb of Beni Hassan. The color of the Throwstick was “yellowish with black cloudy graining”.

In my opinion, the Throwstick or Club must be seen in combination with the ‘Strong Arm’, because the human expression is similar. So, millennia later, the martial bearing of this ‘Strong Arm’ was represented in Egypt, on the cartouches of pharaoh Djoser and Sekhemkhet – see also the right arm of the statues of pharaoh Djoser and pharaoh Khasekhemuwy. The ‘Throw-Stick’, was the symbol of the Creator.

Cylinder-seal (Dynasty I of Egypt) with a human figure in the shape of the Strong Arm, identical with the Swimmer

Throw-stick, plate IV no. 42, Flinders Petrie, The Making of Egypt, p.13), 2 These interesting objects were found lying close to the hands of a man (5716), one on the top of the other. The wood was extremely light and the surface powdery; they were treated with celluloid solution and can now be handled. The upper one was complete, except for a small portion at the top. The upper part of the lower one is missing, and was not in the grave. They were therefore old and disused when buried, or possibly “killed.” The decoration consists of three rows of little dots down the centre of the whole length, and a border of chevrons along the edge of the handle. The dots are impressed rather than carved, as if a row of beads had been hammered on to the wood. Actual specimens of throw-sticks are rare. The next in date that I know of is one from Kahun (PETRIE, Kahun, pl. ix, 30). This is of similar form, but much larger, 174 ins. long compared with the 74 ins. of ours.

The throw-stick occurs as a hieroglyph, often in combination with the alighting duck (GARDINER, Egyptian Grammar, G41 p.472); and it is frequently seen in tomb paintings of fowling scenes. On the slate palette, British Museum 20790 (CAPART, Primitive Art, p.231) the hunters seem to carry throw-sticks in addition to the other weapons. On the Predynastic decorated vases, men also apparently carry them (ibid., p.118), but the most interesting representation is on the vase from El Amrah (MACIVER, El Amrah, pl. xiv, D46) of S.D. 50, where there are two men and one woman. One man holds two small angled sticks in one hand, and the other man also seems to hold two.

The third image shows a map of the Pyramid Field between Abu Rawash and Dahshur, looking from north to south in accordance with the ancient Egyptian manner of viewing. The stylists personification of the constellation Orion was shaped by building ten pyramids and a pyramid city. The overall figure was based on the throw-stick (T15). The basic pattern is founded on what is known in astronomy as the ‘Main Outline’ of Orion. This essential feature became the fundamental principle in all iconographic renderings of the ritual Horus posture. (©2000 W.W. Zitman)

See the website Egypt: ‘Image of Heaven’, Chapter 6 on www.zitman.org for a projection of the Star map onto the Pyramid field.

The Enclosure of the Temple of Heliopolis in the shape of the Strong Arm

(W.H. Zitman, Egypt Image of Heaven, p.141-142 and fig. 39a)

The Avenue of Luxor in the shape of the Strong Arm (www.zitman.org, chapter 8 y and the Horus pose)

It is worth drawing a parallel with the great stone monument of Stonehenge. The Stonehenge Hidden Landscapes Project revealed some amazing new features to this prehistoric monument. Researchers used six different techniques to scan the whole site at different depths below the surface including a magnetometer, a Ground-Penetrating Radar (GPR) and a 3-D laser scanner.  This enabled researchers to virtually see through the ground and explore what civilization might have looked like thousands of years ago. The team’s new three-dimensional map covers an area of 12 sq km or 1,250 football fields and suggests that the prehistoric monument was accompanied by 17 neighbouring shrines.

The wooden construction extended nearly two miles across Salisbury Plain more than 8,000 years ago, and would have served to shield the sacred site from the prying eyes of ordinary lower-class locals.
Trenches have been dug around the monument, tracing the course of the fence that meanders around the stone circle.

In the English Heritage (Stonehenge) page 6, we see “a long delicate bone pin found buried with a cremation in one of the Aubrey Holes. The pin may have fastened a shroud arund the body before cremation.”

It is the holy magic wand made out of the willow, prehistoric man used by their sorcery or magic and creation. The palisade of Stonehenge has the same model and served as cosmic protection for the site. Their presence in situ might have made it possible for the creation of the world to be carried out. The same is true for the Image of the Arm and the Strong Arm. These symbols might have represented the most sacred objects in the Homeland of the Primaeval Ones. The symbol of the Arm was the physical form of the elementary creative power which was believed to have been concealed in the ground, par example the enclosure or palisade of Stonehenge. Stonehenge is one of the four astronomical-religious centers of the old world. One of the four gates to the cosmos.

In the centre of the Lozenge we see the Pegasus square, I-Iku, rendered as an actual square in the sky.
(W.H. Zitman, Egypt: Image of Heaven, p.191, fig.55)

The Pegasus Square and the Tablet of Pharaoh Djer

The Pegasus square, I-Iku, is indeed rendered as an actual square (see fig.). To the Sumerians, it represented a standard field measure. This standard field amounted to “approximately 3,600 square metres”. They divided this up into nine equal parts. The Egyptians recognised nine gods, as is apparent from the original Ennead of Heliopolis: Shu, Tefnut, Geb, Nut, Osiris, Horus, Seth, Isis and Nephtys, with Atum as the supreme creator.

The museum of the University of Pennsylvania possesses a tablet from the reign of Pharaoh Djer of the First Dynasty (see fig.). On the left, the tablet shows the Serekh, the “coat of arms” of Pharaoh Djer, surmounted by the Horus falcon. Below the Serekh, we see the hieroglyph for “strong arm” (Nht), signifying invincibility and victory, followed underneath by a square subdivided into nine sections. The hieroglyph at the bottom is the sign for “village, location or region”. The square with the nine sections stands for the Pegasus square and the nine gods, the Neters, who will grant invincibility to Pharaoh Djer and for the I-Iku of the Sumerians. No square that is subdivided into nine sections is known to exist in the Egyptian hieroglyphic script. Therefore, this exceptional hieroglyph points to familiarity with the I-Iku of the Sumerians and the nine gods, the Neters. In addition, the tablet may well contain a reference to the dwelling-place of the gods in the Central Mountains of North Africa, the Wetjeset-Neter place. Did Pharaoh Djer originate from that area? Perhaps, but we also need to note that prehistoric man believed that the gods dwelt up on the mountains.

Tablet of Pharaoh Djer (Museum of the University of Pennsylvania) showing the Serekh surmounted by the Horus falcon; underneath, in that order, we see the strong arm (= Nht), the square with nine sections (I-Iku), and the hieroglyph for “region” , see website Origin.
A bludgeon or staff is shown in the centre; the goddess Sekhet-Hor is pictured on the right. (see fig.)