One of the greatest secrets of the ancient Starwalkers is found in Egypt at the Serapeum of Saqqara, a place that is easily one of the most mysterious places on earth. It is said to be a burial site for sacred bulls. However, the site presents questions science and Egyptologists can’t answer, and therefore, a massive challenge to orthodoxy.
The great French scholar and archaeologist Auguste Mariette discovered the Serapeum in 1851. He was inspired by the alluring early Christian era account of the Greek geographer, Strabo (25-58 AD), who after visiting the place shortly after the resurrection of Christ, told of a mile long Alley of the Sphinxes known as the Serapeum Way that led to the secret tomb-storage-complex known as the Serapeum. After Strabo’s time, the Serapeum disappeared beneath the sand until Mariette picked up the trail.
August Mariette.
Mariette, who previously hunted Egyptian Christian manuscripts for the Louvre, was in intense competition with British collectors who were ‘appropriating’ Egyptian treasures and exporting them to England. The French scholar and archaeologist was determined to make ‘the ultimate find’ denied to Napoleon and bring ancient Egyptian glory home to France. He diverted the Louvre’s manuscript fund to hire a group of Bedouins to serve as his guides and dedicated himself to finding the ‘lost’ Serapeum.
Located just fifteen miles from the Great Pyramid and within eyesight of it on a clear day, Saqqara is the home of the Step Pyramid of King Djozer. Also known as the Stairway to Heaven, Djoser’s pyramid is said to be the oldest stone structure in the world. It was built by Imhotep, a polymath and high priest who became known as a ‘son’ of Ptah, the ancient Egyptian god of craftsman and ascension. In c. 2600 B.C., Imhotep attained deification or ascension. He was the first commoner to do so. The location of his undiscovered tomb at Saqqara is another of the ultimate mysteries of Egypt.
Near the Step Pyramid, and at the northern edge of Saqqara, Mariette worked in mounds of sand and a “spectacle of desolation” looking for Strabo’s sphinxes.
As he looked around he would have appreciated that all of Saqqara is an engineering marvel. An enclosure wall 30 feet high and unlike any other seen anywhere in Egypt protects the site and gives it an ‘off limits’ to the public, even corporate research lab, feel. Reports claim that a labyrinth of 8 to 9 miles of tunnels extend out from Saqqara’s focal point, the Step Pyramid. Many of these galleries are painted (and off limits to tourists). It is possible that these tunnels connect to the nearby Serapeum.
The Serapeum is named for Serapis, sometimes spelled Sarapis, a Graeco-Egyptian deity promoted during the 4th century B.C. by Ptolemy I Soter (366-282 B.C), a Macedonian Greek general, historian, successor of Alexander the Great and founder of the Ptolemaic Kingdom centered on Egypt. He created Serapis as a means to unify the newly merged Greeks and Egyptians in his realm. A massive library in Alexandria also bore the same name.
Sar-Apis is a combination of the sacred Apis bull worshipped in the Saqqara area and entombed in the Serapeum (more momentarily) and Osiris, a one-time mortal man who was raised by his wife Isis to become the ancient Egyptian god of resurrection, and who now dwells somewhere in the constellation Orion. Sarapis was the counterpart of Isis and was portrayed as a bearded man with the body of a serpent.
Serapis as drawn by a savant in Napoleon’s army in Alexandria, Egypt. Napoleon frantically sought the Serapeum, but never found it. On the head of the god is a calathus or modius, a basket or grain that symbolized Osiris, the god of grain.
While its name is Greek, it is vital to acknowledge that the Serapeum’s roots can be traced back to at least the 6th dynasty (2345–2181 BCE) and likely to the Pyramid Age and before. The most ancient burials at the Serapeum, found in isolated tombs, actually date back to the illustrious reign of Amenhotep III of the Eighteenth Dynasty in the 14th century BC. His indelible mark is found all over Egypt, but it is at the Serapeum where his most important achievement may be found. We will return to Amenhotep III’s story momentarily.
ENTRE VOUS
Mariette knew he was on to something when he discovered first one sphinx buried in the sand, then another, and another, until there were over 100 sphinxes (of the original 600 put there under Nectanbo 350-400 years before Jesus) lined up in a path that led to an ‘X market the spot’ and the door to a mysterious underground entrance. His team excavated many tons of sand while removing nearly 40 feet of desert and then used explosives to blast through the rock of the sealed entrance.
He was in.
Deep beneath the desert surface he uncovered an underground chamber with a 700-foot-long passageway or catacomb that led to a series of alcoves carved out of the limestone rock. The spacing of the alcoves give the corridor a zipper effect.
The walls of these alcoves are crude, rough, uncut and undecorated (unlike the walls of other Egyptian tombs which are spectacularly decorated). Were they once decorated? If left rough, then why? More directly, why were these massive masterpieces stored in such a ‘plain’ site? These and other questions must have sped through Mariette’s mind.
Within the alcoves of this crypt, now called the Greater Vault, he found 24 magnificent and gigantic stone boxes – exquisitely, perfectly, incomprehensibly — created from solid granite and diorite. Granite is one of the hardest substances in the world. The only material that is harder is a diamond. According to Moh’s Scale of Mineral Hardness, granite is typically a 6-8 on the scale (1 is the softest and 10 is the hardest). For reference, your fingernail is a 3 and a steel knife is a 7 on the hardness scale. Steel cannot even cut granite, yet we are told the ancient Egyptians shaped these stones with copper chisels. Copper is 3.5 on the Mohs scale.
The massive containers average 13 feet in length, 11 feet in height, and 7 feet 8 inches in breadth. They each weigh roughly 50-80 tons – the equivalent of fifty-five pick up trucks and are capped by a spectacular, but highly unusual, removable (rolling, slidable) monolithic slab or lid estimated to weigh an additional 20-30 tons each. Each container is ‘parked’ five feet beneath floor level.
Evidence suggests they boxes were completed on site. The tight space of the alcoves in which the boxes sit raises questions about how the boxes were maneuvered into place and by what means.
All of the boxes were empty (no bulls) and with their 20 plus ton lids rolled back (by what means is unknown) creating an opening just large enough for a human to squeeze into and/or exit. There was no evidence of ancient tomb raiders having entered the site.
While Mariette’s men could remove tons of sand covering the Serapeum his men could not budge the 25-plus ton lid of the one unopened box within it. Mariette used dynamite open it and found it was empty.
The Frenchman must have looked at these black granite boxes with trepidatious awe and abject wonder (as do today’s visitors).
They emit mystery.
They hum when struck.
They have the feel of the monolith in Arthur C. Clarke’s 2001: A Space Odyssey, the black boxes or black cuboids built and scattered across the solar system as catalysts or accelerators of evolution by an unknown extraterrestrial race in Clarkes’ masterpiece.
It is hard to say if Mariette comprehended the immensity of his discovery, especially as his notebooks have mysteriously disappeared or were destroyed. A mind-bending 230 crates of antiquities were removed from the Serapeum to the Louvre in Paris.
The thing is, the granite boxes with their rolled away lids are much larger than would be necessary for a bull and animal remains were found in only one of the sarcophagi.
Something appears to have been sealed in, but apparently, if one knew how, one could unseal the boxes by sliding (rolling) the stone lid away.
So, who rolled away the stone lids? What was in these magnificent boxes and / or in the Serapeum? Mariette hoped to find out. And, so do we…
At first glance the utter perfection of these boxes seems like total overkill for the stated purpose as sarcophagi for mummified bulls. Visitors marvel at how their exterior and interior surfaces, and their ‘rolling’ stone lids, are polished so smooth on the inside they are like mirrors or glass. No inscriptions are on the surfaces, save for one, and these are very crude later additions.
The majesty of these boxes has captured the immense fascination and wonder among engineers,’megalith maniacs’, Ancient Astronaut Theorists, and ascension questers alike.
Simply, the precision exemplified by these highly crafted boxes is a major challenge to (if not beyond) our present means of duplication. Contemporary engineers, like Chris Dunn, are in awe of the artist’s engineering skills, among other abilities. We could do it with tens of millions of dollars, A.I.-aided precision engineering technology, heavy lifting cranes, and other extremely advanced technology. While we may be able to duplicate them, their purpose or use may still challenge our understanding or ability.
Why would a bull’s sarcophagi require a 30 ton lid that fits perfectly to the mirror like surface of a 50 ton box creating an air-tight seal so that nothing, no air, light or water / liquid, gets in or out? Who or what were they protecting it from?
Why was this necessary?
Maybe it just was.
Or, maybe it wan’t necessary, but it was easy for the ancient masons to create such astounding masterpieces, therefore they did it simply because they could.
For instance, the granite used for these massive beauties is believed to have been transported on the Nile from the quarry in Aswan nearly 600 miles away. But how this was done continues to baffle archaeologists, especially as the source blocks would have weighed a massive amount more than the finished box and lid. In all my 27 trips to Egypt I have never seen a group of archaeologists floating a 100 ton block of granite down the Nile to Cairo.
Then there is the matter of how the granite was so perfectly cut, polished and maneuvered into the small alcoves in which they now sit.
Evidence shows the boxes were finished inside the Serapeum from a single block of stone. The original block must have weighed one hundred tons or more. It takes an industrial diamond tipped saw to cut diorite and recent calculations reveal that the internal and external dimensions only deviate by thousands of an inch, yet Egyptologists maintain they were made with copper chisels and stone tools using a technique called sand abrasion. By adding sand, which contains quartz, they enhanced the cutting capacity of their tools.
King Khafre.
It’s not like they couldn’t do this. Shown here is one of the great masterpieces of ancient Egypt, the stone statue of King Khafre, the supposed builder of the second pyramid of Giza. In order to create this sculpture, the the sculptor used the subtractive method. He began with a cube-shaped stone block of diorite. In addition to the subtractive method, abrasion, rubbing or grinding the surface with sand was used to finish the product off polished to mirror-like perfection.
Interestingly, in what remains of his account of the discovery, Mariette describes rails inside the Serapeum. German archaeologist, Heinrich Brugsch, visiting the Serapeum in 1853, observed that the “double-rails”, on which the sarcophagi could possibly have been rolled in, were still clearly preserved on the floor of the Ptolemaic service tunnel and the following passages.
Also worth noting is that Marriette also found the tomb of Prince Khaemweset, Rameses II’s son. The Prince’s seal was everywhere inside, but there was no body. The mummy vanished. The rich jewelry that accompanied it all bore his name. However, the remains in the coffin were not human remains, but rather a mass of fragrant resin and several disordered bones, most likely those of a bull although no one can say for sure as these remains have now been lost. Archaeologists later claimed, rather bizarrely, that it had just been a bull, in the shape of the Prince in the tomb. This catches our attention as Khaemweset was known as a magi / priest from a military family who had a deep interest in the mysteries of Osiris and the secrets of resurrection. His grandfather, King Seti I, had been raised to the level of the gods and his father, Rameses II, recorded the entire mystery on the walls of Seti’s Temple of the Millions of Years at Abydos.
The Frenchman had discovered an immense mystery indeed.
MORE THAN BULLS
The sacred bulls for whom these boxes were made were more than just beautiful bovine symbols of strength and fertility. They were believed to be the living incarnations or manifestations of Ptah, the ancient Egyptian god of stonemasons, architects, smith craft, and more.
It is also claimed by Budge in The Egyptian Hieroglyphic Dictionary, that Ptah fashioned the bodies of men. He even has what appears to be a double helix in the hieroglyph of his name. This is accompanied by a square and a half circle (representing a compass), the tools of the masons.
These symbols point to a possible reason for Ptah’s augmenting of human DNA and fashioning of the bodies of man. For instance, if you say that someone squares the circle, you mean that they bring together two things which are normally thought to be so different that they cannot exist together. In this case the square represents earth. The circle represents divinity or heaven. Uniting heaven and earth was Ptah’s business. Is it actually possible for heaven to exist on earth? What if Ptah’s augmentation / fashioning of the human body was intended to make it a more conducive vehicle for attaining this unity?
These are vital questions as, in the ancient Egyptian mind, these Apis (or Ser-Apis) bulls did not just represent Ptah, they were Ptah.
According to ancient Egyptian belief, for whatever reason, the soul of Ptah chose to incarnate and experience earth life in the physical body of the sacred Apis bull.
The offspring of the sacred cow mother, the Apis bull is the product of a mother who is an earthly cow, but also symbolizes Hathor, a heavenly goddess of love, happiness, music and joy, whose speckled belly formed the starry sky. The Greeks maintain these bulls were conceived in a flash of light that descended from the heavens.
Screenshot
In a perfect expression of the Hermetic adage that guided ancient Egyptian magical consciousness, ‘as above, so below; as within, so without’, the bull stood in for Ptah while it lived and became Osiris when it resurrected whereupon it took the name Osir-apis or Serapis (hence the Serapeum) and traveled the starry sky to Orion. For this reason the specialness of the Apis bulls must be acknowledged and should not be underestimated. The Apis bull is Ptah. The mysteries of this bull are one part earthly, one part heavenly.
We find a similar belief in Mesopotamia where, gods, including Enki, were associated with the bull from early on. Intriguingly, Enki (also referred to as Ea) was titled Šar Apsi, meaning “king of the Apsu” or “the watery deep”. Enki is specifically called “Nudimmud, great bull of the abzu (abyss)”. He is the king of the Abyss, a watery realm within the earth.
Enki was the Sumerian god of water, knowledge, craft, and technology who (like Serapis) was portrayed as half human / half serpent. He is given credit for creating human beings to whom he wished to give the divine power contained in seven secret tablets called ME. Immediately after the creation of the first human, Adapa, Enki took him on the path to heaven, indicating that the focus of his genetic modification was human ascension.
Enki was called Sar Apis and he’s half human, half serpent, but is begotten by a wild bull? He is the god of technology who crafted the human body?
The parallels to Ptah’s story are obvious and one can easily see why scholars equate these two gods.
Significantly, in the Sumerian poem Enki and the World Order Enki says “I am the good semen begotten by a wild bull; I am the first child of the son of Anu.”
Semen means “divine substance”. It was given to humanity by Enki. The semen of the gods was believed to have magical properties. As the Sumerians believed that rain was the semen of the sky god Anu, king of Anunnaki, that fell from heaven it is possible that this divine substance may be something other than a fluid ejaculated from Enki’s penis. This ‘divine substance’ will play a seminal role in our story momentarily.
First, we must ask what does the belief that Enki/Ptah incarnated as a bull have to do with the claim that he fashioned the human body (or a divine substance for that matter) for the purpose of ascending to the heavens?
THE PYRAMID TEXTS
For an answer we may turn to The Pyramid Texts, which are the oldest religious texts in the world. They were discovered beneath the pyramid of Unas at Saqqara. The Pyramid Texts describe a ladder that reaches into the sky. The purpose of this ladder is to provide a means of ascent from the earth to the sky / heavenly world, the Field or Dimension of the Blessed, but also to create a two way transportation system between earth and heaven.
The Text’s utterances tell of the pharaoh’s transfiguration into lightning (or plasma) preparatory to ascending a stairway to heaven to the realm of the gods (which, as we will discuss, are the Pleiades).
Lightning? Plasma? Traveling through doors?
This is what Osiris is said to have done when he resurrected from earth and ‘resurrected to Orion. Sahu, the symbol of Orion/Osiris shows a man walking on the boat of the millions of years. He is the Starwalker.
This suggests to me that the reason for Ptah’s tinkering with human DNA, like Enki’s, had to do with transfiguration and preparation for ascension.
While the Pyramid Texts do not tell us how this transfiguration into a luminous star walking celestial being occurred, we are assured of its historicity. It is assumed one would connect the texts to the nearby Stairway to Heaven and realize that Saqqara is a Starwalker Mystery School.
As I have previously discussed, this transfiguration was made possible by a technology that included tones, lights and plants (that became oils).
Nefertari and Ptah.
A majestic depiction of Ptah is found in the tomb of Queen Nefertari where the wife of Ramses II offers the symbol for new, afterlife, clothes to Ptah. She is thanking him for helping her to weave her afterlife garment, the transparent linen garment she is wearing (complete with scarlet thread), as it is the garb of the ascended ones.
When we think ‘Ptah’ we must think ‘transfiguration’. Star walker technology.
LET US RETURN TO THE APIS BULLS
Every 25 years the Apis bull was ritually sacrificed, embalmed and entombed as royalty in the Serapeum. Only one living Apis was recognized at any one time, in a system not unlike the selection of the Dalai Lama, the replacement bulls were carefully selected. The bull’s mother – who had also been ritually killed and embalmed – was buried in a similar style in the Iseum catacombs dedicated to Isis about a half a mile from the Serapeum. The sacrifice of the bull re-enacted the cycle of life, death and resurrection. This ritual is believe to have assured the ancient Egyptians that life on earth was but one stop on an eternal journey of star walking.
A Hathor priestess leads a procession with the Apis bull.
There are some fascinating spiritual / metaphysical symbols connected to the Apis bull.
It was said that the sacrifice of an Apis Bull could produce 1000 bees and that these bees were human souls reborn.
Coincidentally / mysteriously, or perhaps not, apis is Latin for bee. Even though they are the same word phonetically (in English) linguists think it is a stretch to link the Apis bull with the apis bee. However, in ancient Egypt, the bee was a symbol of life, birth, death and resurrection, which is why the kings of upper Egypt chose it as their emblem. The area of northern Egypt where the Seraphim is located was called “Ta-Bitty” or “the land of the bee”.
As author Andrew Gough notes, Egypt’s fascination with the bull and bee from the earliest of epochs is reinforced by the fact that King Menes, founder of the first Egyptian Dynasty (3,100 B.C), was bestowed with the office of “Beekeeper;” a title ascribed to all subsequent Pharaohs, and the King’s administration had a special position created called the “Sealer of the Honey,” while the Kings of Upper and Lower Egypt bore the title “he who belongs to the sedge and the bee.” An image of the bee was even positioned next to each Pharaoh’s cartouche.
According to the Greek historian, Herodotus, the next Apis bull was conceived miraculously from a bolt of lightning (which is plasma). This is said to be based on Egyptian belief that a flash of lightning descends upon the cow from heaven, and this causes her to receive Apis.
The Greeks view on the conception of Serapis is vital.
As noted, in the mind of the ancient Greeks Serapis was a combination of the Egyptian gods Osiris and Apis with the Greek deity Zeus, the god of lightning whose name means ‘in the act of lighting up’ and who changed himself into a beautiful white Bull to win the affections of the Phoenician princess Europa.
Another Greek author, Elian (On Animals 11.10) records that the holy cow’s conception of Apis was achieved through a “flash of light from the heavens”. Plutarch located the source of this light in the moon (On Isis and Osiris).
Remember, the holy cow Aelian is describing being conceived is Ptah. So, he is saying a god of technology who incarnates in bulls is created by flashes of light and who may have genetically altered the human body to more easily transfigure into plasma. What is going on here?
I propose that in order to unravel the mysteries of the boxes in the Serapeum one must factor in the Greek / Ptolemaic bull symbolism and mythology, especially this bit about the bulls being a symbol for the gods, plasma beings, and an earthly vehicle for them to incarnate within. In so doing, we arrive at the ancient understanding of the Apis bull symbolism and the purpose of these boxes.
According to ancient Greek stories, and follow this closely, Zeus was married to Hera, the beautiful goddess of childbirth, and queen of the gods. As happens, Zeus fell in love with, and became lovers with, a beautiful young human goddess named Io. Disguised into a cloud, Zeus made love to her. When Hera learned about this relationship she turned Io into a cow in heat to keep her away from her husband. Hence, Io is portrayed wearing cow’s horns.
Io was sent to ‘madly’ (meaning sexually madly/insatiably) wander around the world, before finally coming to rest by the banks of the Nile where she magically morphed back in to human form and gave birth to a son, Epaphus, and was henceforth worshipped by the
Egyptians as the goddess Isis (who also is portrayed wearing cow horns).
This means Io is Isis and vice versa.
Io is received by Isis.
The Greeks identified Io/Isis’s son, Epaphus, as Apis, the sacred bull. In On Isis and Osiris, Plutarch, a priest at the Greek Temple of Apollo at Delphi, considered the Apis bull to be the reincarnation of Osiris.
Apis was thought to periodically incarnate on earth in the form of a miraculously born “sacred calf”. Herodotus says these black bulls were identified by certain markings (a white crescent on one side of its body, a white triangle on its forehead, a vulture on its back, double hairs on hits tail, and a scarab-shaped mark under its tongue).
Apis – or Epaphus — is the calf of a cow that is never afterwards able to have another. The Egyptian belief is that a flash of light descends upon the cow from heaven, and this causes her to receive Apis.
THE KING IS THE MIGHTY BULL
Taking this bull mythology one giant leap forward, the royal wives or women who gave birth to the first Egyptian Pharaohs were equated with the holy cow who birthed the Apis bull. The queen’s son, the pharaoh, bore the title “mighty bull,” and was identified with the Apis bull! The bull is the offspring of the holy cow.
“Strong bull of his mother Hathor” was a title for the Egyptian gods. Hathor is the goddess of love and joy. Most importantly she is the cow goddess and is depicted as a cow or a woman with the head of a cow. She could change from a cow, to a woman with a cow’s broad head and cow ears, to a beautiful woman with cow horns and a sun disk.
After their birth Egyptian kings (‘bulls’) were said to be suckled by Hathor in the form of a cow. Below is a scene from the Hathor Chapel at Deir El Bahari, Queen Hatshepsut’s mortuary temple on the west bank of Luxor, Egypt. Young Hatshepsut suckles one of Hathor’s udders receiving her ‘milk’. I put milk in quotes because this divine fluid / substance has many layers of meaning, including being called ‘semen’.
Hathshepsut suckling the Hathor cow at Deir el Bahari, Egypt.
Interestingly, the word milk derives from meli, honey. Going back to the time of Hatshepsut, initiates knew the galaxy (from Late Latin galaxias, “milky way”) was capable of producing enlightening substances, mother’s milk. This is why the Mother-goddess, Hathor, is portrayed as the heavenly cow.
A key here is that the celestial Hathor symbolized the Milky Way galaxy. Thus, the pharaohs were not suckling an earthly cow or receiving earthy milk. They were drawing sustenance, divine, heavenly milk (love and joy), from the Milky Way, the celestial cow whose body was composed of billions of stars. In the ancient Egyptian ‘as above, so below’ formula, they are mirrors or reflections of one another. Similarly, the earthly Nile was thought of as a mirror of the heavenly. “As above. So below. As within. So without.”
The object of the ancient Egyptian religion was to learn to walk this celestial path of souls, the beautiful celestial river of stars we call the Milky Way. But, where does it lead?
It is important to note here that Hathor is one of seven Hathors or the Seven Celestial Cows. This is a reference to the Pleiades, the cluster of seven stars in the constellation Taurus the Bull just on the edge of the Milky Way.
As detailed by Dr. Marguerite Rigoglioso in her book, The Mystery Tradition of Miraculous Conception, Osiris (for whom the Apis bull is named) is the celestial bull referred to in the Egyptian Book of the Dead in which “the Seven Cows and the Bull” appear as a key motif in the soul’s journey to the after life. The Hathors were priestesses from the Pleiades who could create divine offspring via parthenogenesis or virgin birth.
Now we are getting somewhere. The Bull symbolizes Ptah and Osiris, the Egyptian god of resurrection. The Seven Cows are the Pleiades, which the Egyptians called Athur-ai, Stars of Athyr, or the stars of Hathor. In their after life journey the pharaoh, who originates from the Cow goddess (the Pleiades) goes on a journey to return home.
How do they get there? By asking this question we are on top of the secret of the Serapeum.
THE (PLEIADEAN) BULL MEN
Man-bull veneration coincides with the beginning of Egyptian kingship, also in 3100 B.C. As evidenced by the famed Narmer Palette, Egypt’s first king is depicted with a bovine tail on one side, and a bull is seen knocking down the walls of a city on the other. There are two images of Hathor on the Narmer Palette as a mother figure with cow’s horns watching over Narmer; who is identified symbolically as one of her own.
Narmer Palette.
On the Narmer Palette Menes was portrayed barefoot (he is standing on sacred ground performing a sacred act) wearing a short skirt decorated with bovine heads and a bovine tail. We shall return to the powerful symbolism of this beautifully decorated schist artifact momentarily.
Our attention is called to the Sandal-Bearer behind Narmer. He stands beneath a seven-pointed star and a keyhole and holds a bowl of water. The sandal-bearer was a person of immense importance. Think of John the Baptist, who said he was not worthy to untie Jesus’s sandals (Luke 3:16). In addition to carrying the sandals, the sandal-bearer would also perform the ancient practice of washing the king’s feet.
Attached to the belt worn by Narmer are four beaded tassels, each capped with an ornament in the shape of the head of the goddess Hathor.
Narmer’s name was Horus Narmer. The Horus name is a reference to the belief in the miraculous conception of Horus by Isis.
Likewise, Narmer may have been miraculously conceived.
His mother was Neithhotep. He name is derived from the Egyptian creator goddess, Neith (Net), the “Cow of Heaven”, who created the universe.
Rigoglioso has identified Neith as autogenic, meaning she created herself out of her own being. She is the Virgin Goddess or Virgin Mother. Plutarch referred to an inscription on her statue at her holy Delta city of Sais, Egypt where her lost temple, called the House of the Bee, once stood:
I am everything that has been, and that is, and that shall be, and no one has ever lifted my veil (garment, peplos). The fruit which I brought forth was the sun.”
This veil is considered to be the fabric of our reality: space-time. “Space-time” is the physical universe inside which we and everything else exists. And yet, even after millennia living in it, we still don’t know what space-time actually is. As the weaver of this veil, Neith is the weaver of the material of our reality. In her weaving is found the secret or creation.
The fruit brought forth from this fabric is the sun, but is also the son. Parthenogenesis means to conceive without sexual union. According to Rigoglioso, these priestesses conceived this way in order to infuse the human race with advanced beings, avatars, who could show the way forward.
The implications of understanding Neith as a weaver of the fabric of creation and the goddess of parthenogenesis are profound.
The bull/pharaoh who is miraculously conceived via parthenogenesis must be factored in the bull symbolism at the Serapeum.
The four legged bulls were miraculously conceived by flashes of lighting. The two-legged pharaohs or “Mighty Bulls” were conceived by goddesses involved in a sacred feminine ritual of creation that may have involved lightning.
As Rigoglioso points out, the bee is a parthenogenic symbol associated with Neith. The bee is associated with parthenogenesis because they are believed to arise from the carcass of dead bulls.
In Utterance 205 of the Pyramid Texts, the king has entered into the otherworldly realm of the gods and is seen there. He is “set free”.
In this scene he becomes the Son of Ra and is transformed into a mighty bull.
What does this mean?
THE BULL AND THE SOUL
Following the lead of author Jeremy Naydler in his book, Shamanic Wisdom in the Pyramid Texts, we ask if the transformation of a pharaoh into a mighty bull a metaphor for him taking on or attaining super human power?
Was ‘Mighty Bull’ a title given to him to indicate he has joined the circle of the gun gods or the Sons of the Sun?
Was it a literal transformation into a mighty bull?
Was it an ecstatic experience?
Did it take place in the Serapeum?
In Utterance 245, the king passes through Nut, the goddess whose body is filled with stars. He does so in the form of a hawk, but in Utterance 246 he takes the form of a mighty bull. He is now positioned “at the doors of akhet”.
In Utterance 273-275, the king is described as a “Bull of Heaven” who eats the magic of the gods and “assembles his spirits.”
Cementing this link is the fact that the bull was written with a hieroglyph whose phonetic value is ka, the word for a person’s spiritual double and the part of the soul that has direct connection to divine source. The ka was ‘made’ or identified as a distinct and separate entity that lived on after the death of the physical body. In the Pyramid Texts we read:
O Unas, the arm of your ka is before yo,
O Unas, the arm of your ka is behind you,
O Unas, the leg of your ka is before you,
O Unas, the leg of your ka is behind you.
The ancient Egyptians believed the ka, along with the physical body, the name, the ba (personality or soul), and the šwt (shadow), made up the five aspects of a person. Each living being had its own ka and the Egyptians said in the texts, “To die is to pass into your ka”.
It is no coincidence that the ka was represented in hieroglyphics by two arms raised to the sky, a symbol seen also in the hieroglyph of the bull. Everything is a deliberate pun in Egyptian writing. So in the symbolic role given to the bull the Egyptian priests revealed a favored pathway to the divine and a means to reach eternity…in the light body.
In utterance 306, Unas becomes the enduring bull…at the head of the akhu forever. This symbolizes his integration of the ka energy. This power was demonstrated at the sed festival by the wearing of a kilt with a bull tail attached.
In utterance 307, it is made explicit that the energy of the bull is solar. The bull-king-man Unas is one with the Sun God Ra.
Ra’s cult center was at Heliopolis, the city of the Sun. There, the solar bull was called the Mnevis Bull.
The Mnevis Bull
From the above, we realize that the cow, bull and horn symbolism is related to the Sun and consciousness symbolism of resurrection and rebirth.
Let’s do the mythological math.
There were no 4-legged bulls in the boxes found in the Serapeum. Instead, we find a connection to mystically conceived pharaohs, called Mighty Bulls, who are offspring of the Hathors, female avatars from the Pleiades.
As mentioned, the oldest traces of a bull burial at Saqqara date back to Amenhotep III, the king/pharaoh of the 18th Dynasty (c. 1570-1293 BCE). The burial was conducted together with his son Thutmose who was Sem priest of the Apis cult.
Not only was Amenhotep III the founder of the Serapeum, he was also deeply involved in Hathor’s ‘plan’ for advancing humanity.
In the temple of Amun at the site of Luxor in Egypt appears a series of scenes depicting the divine birth of Amenhotep III. The first scene on the left hand shows the God Taht (Thoth), who becomes the New Testament Gabriel, the Moon God, the Annunciator of the Gods, in the act of hailing the Virgin Queen, Mut-em-ua, (Mary) and announcing to her that she is to give birth to the coming Son (Amenhotep III).
In the next scene the god Kneph (the Egyptian Holy Ghost) and the goddess Hathor hold crosses, the Egyptian Ankh as a sign of life, originally to the head and nostrils of Isis and mystically impregnate her.
These scenes establish the parthenogenic birth of Amenhotep III.
I find it outstandingly interesting that the pharaoh who inaugurated the burial of the Apis bull, and all of its connections associated with the parthenogenically conceived bull men sons of the cow goddess, was conceived miraculously himself.
It suggests to me that everything Amenhotep III created, including the Serapeum, was in fulfillment of the Hathor’s mission.
What, exactly, were they doing in the boxes?
My sense is that they were becoming Apis bull men. The Apis bull is Ptah. The king is the Apis bull. Therefore, the king is Ptah. The boxes were the container / mechanism by which this transformation was affected.
Once the pharaoh became Ptah on earth, he could become Osiris…the Starwalker…in the heavens.
THREADS
Threads we can pull in to support this contention include Amenhotep III’s appearance at Hathor’s temple at Serabit El Khadim, which its discover, Flinders Petrie, claimed may have been Moses’s Mount Sinai. There, Petrie discovered tons of a mysterious white powder substance called mfkzt.
Laurence Gardner says this substance tapped into the Field (Dimension) of the Blessed, enhanced the longevity and quality of life of the physical, flesh and blood body, fed the light body (the Ka) of the pharaoh, and enabled teleportation to or contact with the gods (Starwalkers). The material been called ORMEs, monoatomic gold, white gold, white powder gold, ORMUS, m-state, AuM, microclusters, and manna.
According to Gardner, when the white powder of gold is mixed in water, it becomes the Elixir of Life, the alchemist’s dream — also known as The Golden Tear from the Eye of Horus, or “That which issues from the mouth of the creator.” It was also referred to it as the semen of the father in heaven. It was made / manufactured at Hathor’s temple in the Sinai, likely at the direction of the Hathors. In Gardner’s view the Ark of the Covenant produced an arc of electricity (like lightning) that transmuted gold into white powder gold.
We recall that a flash of lightning descended from heaven at the conception of the Apis bull. It seems we are not talking about ordinary lightning, but rather, a powerful transformational Light.
If my supposition that everything Amenhotep did was in relation to the Hathor’s mission, then we can see a key role for Mfkzt in the the goings on at the Serapeum.
Amenhotep III on left receiving dispensing instrument from Hathor standing in center. High Priest, Alchemist, Treasurer, Sobekhotep “The Great One over the secrets of the House of Gold,” handing a cone of MFKZT, (ORME), towards Hathor.
Jesus emerges as another link in the lineage of these avatars. The story of his Annunciation is identical to Amenhotep III’s. This does not mean that Jesus did not exist, as some insist. Rather, it tells us that he is part or the lineage of these avatars.
Once again, the bull symbolizes this link.
In Christianity, the bull is a symbol for absolution and life through sacrifice. The bull’s sacrificial role, particularly in the Levitical system, foreshadows the ultimate sacrifice of Jesus Christ, whose atoning death would fulfill the symbolic significance of the bull’s blood, providing redemption for humanity’s sin. According to the four Gospels, the bull is a manifestation of Jesus Christ.
Thus, when we compare Christian art portraying the tomb of Resurrection with the boxes in the Serapeum are we seeing what Hathor wished for us to see?
A resurrection box for bull men?
To be continued…
