Submitted by Thot. Article by Gary Osbn - Member of The Book of THoTH Taken from Axis of God. Copyright © Gary Osborn 2005. All Rights Reserved.
For many years, we have been told by Egyptologists and historians that the pyramids of ancient Egypt were the tombs of the Pharaohs and nothing more.
This is the ‘official line’ and this could indeed be true as regards the majority of the pyramids in Egypt which were clearly built by the ancient Egyptians – many of which collapsed to rubble soon after being built.
But ask the many researchers (those not funded by institutions) who have made a life time study of the pyramids, and they would most likely tell you that the Great Pyramid of Giza is unique – not just because it is a perfect pyramid which has withstood the ravages of time – but because it appears that one of its purposes was to preserve knowledge.
They will also tell you that much meaningful information has already been derived from the Great Pyramid, even though many scholars and academics – i.e., those funded by the institutions and establishments – have never really accepted this data and continue to ignore it.
During the last months of 2002, I made a new major discovery about the Great Pyramid of Giza: that the Polar or Celestial Axis of the Earth, which is presently tilted at 23.43 degrees, (given the round figure of 23.5º in most text books on the subject) is clearly referenced in the geometrical structure of the Pyramid.
Furthermore, it appears that the overall structure and certain internal features of the pyramid also contain data about the Earth’s geophysics and orbital dynamics.
We also find that the Great Pyramid is actually pointing to its own location on the earth – being almost 30º N from the Equator, and this is the decisive factor for me as regards the credibility of this encoded information.
This new discovery about the Great Pyramid is remarkable in itself; but how I actually uncovered this hidden information never fails to amaze me – even now as I reflect on it – as it involved a 17th century painter who on the surface appears to have had nothing to do with Egypt and the pyramids of Giza . . . an artist whose works of art are believed to contain a code which many researchers have endeavored for years to decipher with no real success.
It would surprise many to learn that I first discovered this information about the Great Pyramid through studying and deciphering the hidden codes in three paintings by the French artist Nicolas Poussin (1594–1665). These initial discoveries and my own interpretation of the data will be revealed for the first time in my book Axis of God.
Furthermore, and since 2002 whilst researching into these discoveries, I have uncovered much additional data as to ‘why’ this information had been encoded – data which is very supportive of my initial findings.
For instance, I made the amazing ‘bonus’ discovery that the angle of 23.5º had been deliberately encoded in numerous different sources throughout history.
Its one thing to find this angle for the first time in the geometrical structure of the Great Pyramid and also the layout of the Giza necropolis; but to find this same angle having been deliberately encoded over and over again in various works of art – i.e., paintings, sculptures, architecture, symbolic imagery – both ancient and contemporary – is quite staggering.
One could and would argue that according to the ‘law of averages’, this angle is sure to appear in many paintings and as frequently as all the other angles we can extract from a 360º circle.
However, the truth is, that the paintings or sources I have analyzed are all associated by theme, and also contain deliberately planned, conspicuous linear items and features that are just “begging to be measured” so as to obtain the angles being presented.
For the sake of balancing the argument and to try to prove myself wrong, I also looked into the fact that the angle of 22.5 degrees is also a common angle used in art for perspective, as 22.5º is one sixteenth of a 360º circle. I mention this so that others would be aware of this and could perhaps use this in their argument and so test this themselves if interested.
I must point out that I have examined many paintings, and have found that although some of the overall ‘perspective features’ in some paintings are in the ‘right ball-park’ and could therefore be associated with the 22.5º angle of perspective so as to support this given fact, I have found that many suspect features, such as staffs, poles, flagpoles, spears, lances, clubs, bones, limbs, swords and other linear objects, are definitely at an angle of 23.5º or even 23 degrees.
We find this with certain linear items or features in well-known Masonic symbols and esoteric symbolism – and especially those we find in highly symbolic paintings portraying mystical or religious themes.
Furthermore, although very close, the angle of 23.5º is not mentioned as having anything to do with the common angles of perspective, so the many references to this angle must mean something else – and for the time being, the obliquity (tilt) of the earth’s axis is the main contender for me.
For example, the angle of 23 degrees appears quite implicitly in ancient Egyptian art – especially illustrations or wall-relief scenes that feature the Djed Column.
This is significant, as the Djed Column represents not only the backbone of the god Osiris but also the earth’s axis – hence the title I have given to my present work – Axis of God.
But it is at this point that we may ask, ‘why’ is the earth’s inclined axis being referenced in all these sources? After all, some believe, and are of the opinion, that the tilt of the earth’s axis is a ‘natural phenomenon’, and that the 23.5º tilt is necessary as the summer and winter cycles govern life on our planet. But, if this is true, then why do we find references to the angle of 23.5º in paintings on the theme of death, battle, war and conflict?
What exactly did the ‘initiate’ artists know – those who gave reference to this angle? . . What were these people trying to tell us?
My own interpretation, based on a lot more evidence which I have found and have yet to present, is that it was believed by the ‘initiated’ that the tilt of the earth isn’t natural, nor is it an ideal situation. Indeed it is a fact that the early Greek philosophers considered the tilt of the earth to be an unnatural and “irregular condition” and not something that had been set in motion since the beginning of creation.
Surprisingly, the angle of 23.5º appears in many medieval illustrations – especially those based on the macabre Dance of Death – a popular theme after the plagues that swept through Europe – as well as themes like the Four Horsemen of the Apocalypse.
The same angle turns up in many paintings from the Baroque period (17th century) – especially paintings on the Vanitas theme which were popular in Europe at that time.
Vanitas means ‘emptiness’ or ‘untruth’ from which we derive the English word ‘vanity’. These compositions are usually ‘still life’ images or genre subjects with the objects symbolising the transience of life and mostly always feature a human skull, arm and thigh bones, antiquarian books, swords, candles, musical instruments, an hourglass and other paraphernalia arranged somewhat haphazardly on a table or large ornate chair.
Skulls are also an endemic feature in many of the 17th century paintings on the “ET IN ARCADIA” theme – again those by the painter Nicolas Poussin and also the painter Guercino (1618–1622).
As the examples cited above shows, it appears that the people who have been placing these references to the angle of 23.5º in many different sources throughout history are telling us that the tilt is associated with ‘death’.
The only explanation I could see, is that it was/is believed by those who have encoded this information, that division, argument, war and all kinds of conflict – regarded as natural elements in human nature and experience – is really the result of the tilt of the earth’s axis; or that the tilt reflects this imbalance and general disharmony in the system linked to the collective human consciousness and vice-versa.
From my research into these references and the cross-referencing of significant data relating to them, I’m compelled to look into the possibility that long ago something dramatic happened to the earth which caused it to tilt from an ‘upright position’ – almost causing the death of the human race and everything on the earth. Man then fell into the cycles of time, and as every mystical or ‘esoteric initiate’ knows, cycles mean ‘entrapment’ for the soul, which is trying to escape these repeating cycles and patterns.
Perhaps this is the real meaning behind the ‘fall of man’ related to the story of the Garden of Eden in the Bible, because as any geophysicist would tell you, if the earth was upright – i.e., 0º – there would be no seasons. Most regions of the earth, especially the belt areas above and below the equator, would be of temperate climate – a ‘continual springtime’ where no winter season would exist to bring a temporary halt to nature. There would be an abundance of food, and fertility would be at an all time high . . . a virtual Garden of Eden. Was this the Golden Age – known as Zep Tepi “the First Time” by the ancient Egyptians? Was this utopian paradise known as Arcadia?
If the earth did not tilt from an upright position, and had never been vertical, then to explain these references, it appears that such a scenario was nevertheless believed by many to have happened, or perhaps the vertical position of the earth was possibly an ‘ideal’ that only existed in the mind of man and largely based on ‘upright’ spiritual ideas and concepts that are shamanic in origin. I cannot stress this enough, because it’s not my intention to prove that the earth was once upright, nor my own belief that it ever was – only to bring attention to the evidence that it was once ‘believed’, and perhaps still believed, that this was once a reality, and/or should be or will be again. The evidence for this is in the many encoded references that this research now brings attention to for the first time in hundreds, if not thousands of years.
Furthermore, we find that the same angle appears in paintings that feature Jesus and other avatars and saints – especially scenes of the Crucifixion and also paintings that express the theme of enlightenment and illumination.
Many of us are only now discovering that the Jesus story is really based on the shamanic and pagan conception of the ‘resurrection god’ of many cultures, who in ancient Egypt was represented by the god Osiris and also Horus – the son and reincarnated-self of Osiris.
Keeping this in mind, we can see how the Crucifixion of Christ – especially the Cross which is tilted when carried by Christ to his place of execution and then raised up vertically, is really based on the ancient Egyptian ritual of the ‘raising of the Djed Column’ from its tilted position of 23.5º. The Djed was the Axis of God – being the spine of Osiris, which represented the earth’s axis and vice-versa, and it was raised on the Spring Equinox – one of only two days in the year that has the same conditions as the earth would be if it were upright – i.e., equal hours of day and night and temperate climate.
As many of us know, it is said that Jesus the Christ was crucified on the ‘Hill of Golgotha’, (“place of the skull”) during Easter (associated with the Spring Equinox), and it was from this vertical position that Christ then ascended to heaven; and this part of the story is important, because we are being told that the only way we can enter heaven is by being ‘upright’ and in every way that we can apply the term – meaning properly centred and balanced in both mind and body.
And although this could be interpreted in terms of upright spiritual values, principles and morals, we are nevertheless also being told that at once upon a time, and perhaps during a Golden Age, the earth was not inclined at 23.5 degrees like it is now, but was indeed upright. The vertical axis represented the spine of man, and we are being told that through this ‘erect’ position of the earth, man and all creation had a direct link with the Creator – represented by the ‘ecliptic centre’ in the heavens – the zero still-point to which the celestial pole of the earth would be pointing if vertical.
We can now see why the angle of 23.5º also appears in many religious drawings and paintings, and also those that depict an enigmatic individual who stands as an example of spiritual enlightenment and illumination, because the evidence suggests that the original shamanic and pagan conceptions that were used by the Church to establish Christianity were originally based on the ‘resurrection god’ and the rebirth of the shaman ‘saviour’ who was ’believed’ to have the power to ‘resurrect’ the earth’s axis back to its vertical position and bring back the balance of the Golden Age in terms of ‘healing’ the duality and imbalance in human consciousness.
This was the original belief behind the messiah/sun-god concept and it appears to have developed from the knowledge and cosmological ideas of those who appear to have survived a global catastrophe – survivors of an advanced culture or civilisation, whose knowledge was based on shamanic experience and conceptions. It were they perhaps, who understood man’s spiritual side and possessed the wisdom that we now know as ‘esoteric knowledge’ – much of which is ancient and had been passed down to us from some remote and distant age which now resides within the ‘collective unconscious’ only.
All this would explain why the angle of 23.5 degrees is referenced in sources that express both themes – i.e., illumination and enlightenment, and also death – meaning the near death of the human race due to the catastrophe that had once befallen the earth, or so it was believed. This explains the theme of the human skull which is not only referenced as the “place of the skull” on which Jesus was crucified and often depicted beneath the Cross in paintings of the Crucifixion, but it also features prominently in many of the Vanitas paintings . . . and also makes an appearance in Shakespeare’s play Hamlet.
It must be said that the story of Hamlet was based on the tragic story of Osiris, Set and Horus, and according to the book Hamlet’s Mill (1969) by authors, Hertha von Deschend and Giorgio de Santillana (a professor or the history of science), the original versions of the story – i.e, ancient myths and very old folk stories from all over Europe and also Asia – contain encoded information about Precession and the orbital dynamics of the earth.
The theme of decay, war, conflict and ruin, (imbalance) in which this angle can also be found repeatedly, appears to be associated with the symbolic “death” of the human race as a whole, in that man’s present condition is that his direct line (spine) with the Creator has been “severed” by the tilt of the earth, and so only those who have become enlightened and have been able to attain that link and maintain it by remaining balanced and centred in mind and body, can make it into heaven and perhaps reverse this situation for all by presenting themselves as an example.
In brief, this is the purpose of the ‘saviour’ who is reborn at the ‘end-beginning point’ (alpha-omega) of every Astrological Age to deliver his message of enlightenment as allegorized in the Crucifixion, and so he stands as an example to those who have maintained that link and to ‘awaken’ and remind everyone of us of our own potential to achieve the same.
Again this was the original idea and belief behind the ‘messiah mythos’, and such beliefs may still be in existence today by those who understand the original conception of the ‘One’ who is born again and again to awaken man and perhaps even raise the earth’s axis back to its vertical position via this ‘collective awakening’, as the imbalance of the earth reflects the imbalance in human consciousness and vice-versa.
He is the “once and future king” at the heart or centre of reality; whose spine (the Cross) is the earth’s axis and whose assembly are the 12 signs of the zodiac that surround the earth – each sign representing a 12th part of the human race. He is the 13th.
The more I researched into these discoveries; more remarkable data began to present itself: I found that the angle of 52 degrees is also referenced in these same sources and is almost as frequent as the 23.5-degree references.
This is interesting because the significant thing about the angle of 52º is that this is the angle of the inclined sides of the Great Pyramid of Giza . . .
The Catholic Church was very powerful during the Dark Ages and the Middle Ages – and really until the dawning of Science and the so-called Age of Enlightenment; so to be branded a heretic was very dangerous to one’s health.
Those who knew the truth behind the Church and Christianity would have had to be seen to “toe the line” and so information and knowledge which would have been seen as “heretical” and otherwise suppressed and stamped-out by the Church, would have been encoded – not only to preserve it, but also to secretly pass this knowledge onto others.
Aside from the use of ‘symbolism’, which has been used since ‘time immemorial’, the ideal medium for any code or cipher, and without it being obvious that one has encoded information, is the Arts. After all, to some extent, one has artistic licence to use any imagery one likes in the composition. It’s no surprise then to find that many architectural buildings, sculptures – especially illustrations and paintings – contain codes . . . and often the same code as I myself have discovered. Ironically, we find these codes in paintings that had been commissioned by elite members of the Catholic Church – many of them unaware that they had been patron to ‘heretic initiates’. No doubt many of these initiates had infiltrated the Vatican and were behind a good number of these benefactions and investments.
There is now much evidence to suggest that many elements of the Jesus story as told in the Gospels, are astrotheological; that the story was largely based on the astronomical alignments observed at Giza and the tracking of the constellation of Orion as well as the shadow phenomena associated with the Great Pyramid during the equinoxes and solstices. But more than this, the story was also based on what the pyramids were used for originally; in regard to shamanic initiation into the shamanic trance states, the mysteries of life, death and rebirth (reincarnation) and the ‘enlightenment experience’ – the knowledge of which was later preserved by the Gnostics, the Templars and the Freemasons, to name but a few.
For instance, the constellation of Orion represented the ‘resurrection god’ of many cultures, and in Egypt this was Osiris as well as his son and reincarnated self, Horus.
Again, Jesus the Christ was based on Horus the KRST, and so armed with this knowledge, it could be conjectured that the spear that pierces Christ’s right side in the Gospel of John, might be an encoded reference to the shaft that exits the King’s Chamber and aligns with Al-Nitak in the right side of Orion, according to author Robert Bauval’s ‘Orion Correlation Theory’. This is just one instance and there’s many more.
There is evidence to suggest that Orion was the 13th sign of the zodiac (“round table”) which correlates well with the 13th – the messiah at the centre who has 12 followers – 12 disciples, 12 knights, 12 tribes etc. And we also find that the star Al-Nitak of Orion was used as a kind of “gauge marker” to chart the cycle of precession – a phenomenon which is associated with the obliquity (tilt) of the earth’s axis and that this charting was implemented at Giza, which has been described as a ‘precessional clock’.
But why chart the cycle of precession? Unless “Precession is a post cataclysmic phenomenon” as geoscientists Allan and Delair have stated.
These are the themes I will be addressing and examining closely in the course of my work – and I should add that the crux of Allan and Delair’s theory is that the earth was once upright, and only several thousand years ago, having become tilted due to comet fragments from a supernova explosion in the region of the Vela star system.
Now let’s say that you possessed information that would be seen as “heretical”: that you understood that the stories presented in the Bible and the Gospels, and which had been adopted, adapted and promulgated by the Church, had really derived from an earlier knowledge and wisdom that was once known long ago in ancient Egypt, and perhaps even earlier. Let’s also say that you know that the symbolic message behind the geometrical layout of Giza and that the building of the Great Pyramid contains the true meaning behind many of these stories that had been misinterpreted, misconceptualised, and over the years had become corrupted, twisted and exploited in all kinds of ways to manipulate the beliefs of the collective and attain power over the collective consciousness.
Wouldn’t you want to bring attention to this information and knowledge? And if so, then you surely wouldn’t want to make it obvious. You would know that if you wanted to bring attention to the Great Pyramid as the source of all these mysteries, and send a message or communicate an important insight about it to those who would understand, you would only have to give reference to the angle of 52º by drawing or painting a linear object at this angle and emphasising it in such a way that is conspicuous and begging to be examined and measured.
If I am correct about the association between the angle of 52 degrees and the Great Pyramid, then this would also mean that this knowledge, as known only to the initiated, must reach back thousands of years to the time when the Great Pyramid was built and perhaps even earlier.
In any case, all the elements which have been encoded in these many sources throughout history appear to be leading us back to ancient Egypt and Giza – as if revealing the true meaning behind the stories presented in the Gospels, which again, have been adopted, adapted and promulgated by the Church.
But now to the sources themselves . . .
We find the angle of 23.5º and 52º repeated in Templar and Masonic symbolism – such as the Templar Cross Patee or Maltese Cross and also the Masonic Compass and Set-square which we will come to later. Most surprisingly we find the angle of 23.5º in Leonardo Da Vinci’s famous drawing, Vitruvian Man.
The angle of 23.5º is even referenced in one of the most infamous symbols of them all – the “All-Seeing Eye” in the detached and floating capstone of the pyramid from which rays of light radiate – which is really a reference to the Great Pyramid of Giza which is missing its capstone. This symbol is on every US Dollar bill and it’s amazing how people could have missed this.
Another source which gives reference to the angles of 23.5º and 52º, are the Main Streets of Washington DC, which we find on an early map of the Capital City.
Most researchers and writers will often bring attention to the Pentagonal geometry that is said to exist on the Map. However, almost everyone has overlooked the fact that these streets, which converge and centre on the White House, are 23.5º. There is even a 52-degree reference on this map – being the angle of New Hampshire Avenue.
I should also mention that while in the process of uncovering this additional data I have also been helped along the way by others, like my co-author Philip Gardiner and also Canadian researcher, Don Barone, to whom I had divulged some of the key elements of my research concerning these references to 23.5 degrees. The fact that others could find what I had already predicted, proved that I was dealing with a real phenomenon – something that had been overlooked by us all, even though the clues had been “hiding in plain view” and in many different sources throughout our known history – encoded by a secret cabal of people who believed in these things and possibly for good reason.
My own theory, as to the reason why the Great Pyramid of Giza in Egypt is being referenced along with the angle of 23.5 degrees, is that it might have something to do with the ‘fact’ that the Great Pyramid also contains encoded information about the geophysics of the earth’s axis – again, something I discovered in 2002 – and that perhaps this is one of the major reasons why the GP was built in the first place. It is as if the well-informed people (initiates) who referenced these angles, are telling us that the Great Pyramid, or even Giza itself, contains the answers to the mysteries about our catastrophic past.
Why would this be important?
Well one could perhaps conjecture that the reason why Giza and the GP contains this knowledge, is that in the aftermath of what appears to have been a major catastrophe which tipped the earth and nearly caused the death of the human race and almost everything on the planet, it was decided that knowledge about the geophysics of the earth and other knowledge be preserved. Perhaps this global catastrophe is something that comes around again and again – i.e., cyclic – which would explain the inclusion of the hourglass in many of these Vanitas paintings, as well as the paintings and drawings that illustrate the ‘Dance of Death’ and which appear to be telling us that we only have a limited amount of time to “awaken” and understand our present condition, the condition of our planet and our place in the universe.
March 21st, 2006.
Gary Osborn is co-author with Philip Gardiner on the book The Serpent Grail (Watkins 2005) and The Shining Ones (Watkins 2006).
Gary Osborn’s Official Website:
Presentations associated with this article – especially ‘23.5 Degrees’ – can be read here