Article: Advanced celestial measurements and astrological cycles within the geometric design principles of the ancient gods and goddesses.

Advanced celestial measurements and astrological cycles within 

the geometric design principles of the ancient gods and goddesses.

By Jason Quitt 

In this paper, I will demonstrate a lost and forgotten ancient practice of using precise celestial geometric angles to encode ancient works of art with knowledge of the sun, moon, and Earth cycles.

According to our historical worldview, the first person to measure the Earth’s Axial Tilt, which is the angle between the Earth’s equator and its orbital plane, has been credited to the ancient Greek astronomer Pytheas of Massalia (350 BCE), who first recorded the measurement of the angle of the shadow cast from a sundial on the summer solstice.

This discovery was later established by Eratosthenes of Cyrene (276-194 BCE), who was the first to accurately calculate the circumference of the Earth and its Axial Tilt of 23.5-degrees. Three hundred years later, the famous Greek astronomer and mathematician Ptolemy (100 – 170 CE) popularized these measurements, first discovered by Eratosthenes, giving him credit for the discoveries.

What if this knowledge was known further in our remote history, recorded and passed down through works of architecture, artwork, symbolism, and even the design motifs depicting the ancient gods and goddesses?

It is well-established that ancient cultures worldwide built monuments, buildings, sacred sites, and mounds aligned with celestial cycles. Sacred sites spanning ancient Asia, Egypt, Europe, and the Americas have all been purposefully aligned to the cycles of the sun, moon, and stars. These sites would mark the astronomical times of the rising and setting of the sun during its yearly cycles of solstices and equinoxes, the rising and setting of the lunar standstill cycles of 18.6 years, and even the heliacal rising of Sirius, which the ancient Egyptians used would align with the solar cycle every 1,461 years.

How many millennia of dedicated observations did it take humanity to map the precise movements of the celestial bodies before they were able to apply this knowledge practically?

How would these revelations of celestial cycles be transmitted from generation to generation?

Was there an unbroken method of preserving this astrological knowledge through an undiscovered design principle recorded in the great works of art throughout the ancient world?

I first encountered this practice of the celestial angles by tracing the artwork found on the walls of ancient Egypt. Located in the tomb of Twosret, from the 19th Dynasty (1292–1189 BCE) in the Valley of the Kings, are the stunning reliefs of the Book of Gates that follows the deceased Pharaoh’s journey into the underworld. On this wall, we find a notable motif of a composite image of the gods Horus and Set sharing one body, standing on the back of a double-headed sphinx. The heads of the Sphinx are two of the four children of Horus, Qebhsennuf and Imseti. In this motif, five figures are standing on either side of Horus and Set, each side holding a rope.

We can break down this motif from a strictly symbolic interpretation of this image. Horus and Set represent polarizing gods: Horus, the solar god of light, and Set, the god of chaos and darkness. Both possess a singular body, with outstretched arms horizontally positioned to their sides. This dual figure stands on the back of a double-headed Sphinx, represented as the children of Horus, Qebhsennuf on the side of Set, with the head of the Falcon representing the direction of the West, and Imseti on the side of Horus, with the head of a man, representing the direction of the South. Both children of Horus adorn the Hedjet crown, signifying the crown of Upper Egypt.

On either side of this image, five individuals hold a rope in their respective directions. The group on the side of Set wears the Hedjet crown of Upper Egypt, while the four individuals on the side of Horus wear the Pschent double crown, representing the union of Upper and Lower Egypt.

As a dual solar deity, Horus and Set mark the time of the year when the days of light and dark are equal, symbolizing the solar equinox. The body of the dual solar deity is positioned in the direction of Set and Qebhsennuf, representing the side of darkness and the West, the setting or death of the sun entering the underworld. We can then interpret this image as the setting sun on the Autumn Equinox moving toward the Winter Solstice. The rope pullers symbolize the forces that pull the sun across the horizon from the southern winter to the northern summer position.

In Egypt, on December 21, the shortest day of the year (Winter Solstice) lasts about ten hours. On June 21, the year’s longest day (Summer Solstice) lasts about 14 hours. During the solar cycle from Winter to Summer Solstice, there is a total of 4 hours of light that is either gained or lost. Symbolically, this eternal tug of war is represented by the four figures standing on either side of Set and Horus, waiting to pull the rope in their direction. (Pulling the sun across the horizon from its most southern position to its most northern position.)

This solar motif physically plays out yearly on the Giza Plateau with the positioning of the Pyramids and the Sphinx. The Sphinx has a man’s face, just as the motif of Horus’ child Imseti. Could it be possible that the Sphinx does not represent the face of Khufu but rather Horus’s son Imseti?

Each year, on the day of the Autumn Equinox, the sun sets directly behind the left side of the middle Pyramid of Khafre. From the perspective of standing in front of the Sphinx, the sun visually sets (stands) on the back of the Sphinx. On this day, the hours of light and darkness are equal, mirroring the motif of Horus and Set sharing one body. From this day forward, the darkness of night takes over, shortening the days until the sun reaches its furthest southernly declination of the Winter Solstice, setting behind the left side of the Menkaure Pyramid.

Another play of shadow and light occurs on the Great Pyramid of Khufu during the Equinox. This particular Pyramid is not four-sided but, in actuality, eight-sided. Each face is divided in half by a degree of concave. This slight distortion allows a faint shadow to be cast on one side while the other side is illuminated, dividing the face of the Pyramid into half light and half dark. This effect occurs only on the days of the Equinox, mirroring the motif of the dual face of Horus and Set in one body.

The artistic motif found in the tomb of Twosret matches the physical celestial motif that plays out with the Sphinx and the Pyramids, marking the positions of the sun during the Equinoxes and Solstices. But is there another layer that can cement the symbolic nature into a working knowledge of the celestial cycles and movements? Let us examine this image more closely.

The concept is straightforward: If the image follows a solar motif, the angles representing the sun will be used as the design principle to map out the image’s composition. 

If we draw a line down the center of Horus and Set’s body and connect the bottom line through his palms, what angle is generated if the center line has a value of 0 degrees?

We come to an angle of 23.5 degrees.

If we draw a line from the base edge of the motif into the eyes of the figures holding the rope standing in front of the double-headed Sphinx, we also get an angle of 23.5 degrees.

If you draw a line from the base edge of the motif through the tiny space between the Hedjet crowns and the palms of Set and Horus, you get an angle of 15 degrees.

If you measure the angled position of the poles, you get an angle of 30 degrees.

What significance do these specific numbers have with the correlation of the cycles of the sun?

23.5 degrees is the approximate angle of the earth’s Axial Tilt, which produces the cycles of the Equinoxes and Solstices, giving us the changing of our seasons. This angle creates the visual effect of the sun moving across the horizon from its most southern declination to its northern declination. During this cycle, the suns position gains or loses altitude in the sky, gaining or losing strength, symbolically representing the gods kneeling or sitting when the sun is low during winter and standing upright when the sun is high during the summer months.

15 degrees represents the movement of the sun through the sky per hour, dividing the sky into 24 hours, 360 degrees. Spacing out the figures holding the rope gives them the value of ‘the hours’.

The poles at either side are set to an angle of 30 degrees, representing 2 hours and the division of the heavens into the 12 zodiacal constellations. 12 x 30 = 360 degrees. The 2 hours also represent the loss of daylight from the Autumn Equinox to the Winter Solstice and the gaining of 2 hours from Spring Equinox to the Summer Solstice.

Once this design principle is understood, it can be applied to other ancient works of art. As we will soon see, this knowledge extends far beyond Egypt and even further back into history. But let us continue moving forward on this discovery thread.

Tutankhamun’s Royal Chair

An illustrious gold leaf-covered chair, stylized with beautiful artistic elements, was discovered in the tomb of Tutankhamun, dating to 1323 BCE. The back of the chair is intricately carved with the Egyptian kneeling god of eternity, Heh, holding two palm stems outstretched to either side, following the popular ancient staff gods motif repeated through many cultures worldwide. Above the central figurehead sits the solar disc, with each palm incorporating a solar/lunar disc at the staff’s height for three distinct positions of the eternal solar and lunar cycle.

At the bottom of the motif, two gates of the gods sit on either side of the figure, with hieroglyphics of birds, bulls, and snakes.

When we apply the celestial design angles of the Solar and Lunar cycles, the image’s composition comes to life. The 23.5-degree angle, drawn from the base of the opposing gates of the gods and the solar disc above Heh’s head, intersects directly through the eyes of the snakes and falcon to the center points of the sun at the top of the palm stems. Running up the length of each palm are 72 circular notches. The number 72 refers to the 72 hours (3 days and 3 nights) the sun stands still at the furthest declination on the southern and northern points of the horizon during the solstices.

From the bottom center of the image to the edges of the discs on the palm stems, we get an angle of 28.5 degrees, which is the Major Lunar Standstill cycle of 18.6 years. If we measure the spiral that extends from Hour’s Pschent double crown, representing the union of Upper and Lower Egypt, we get an angle of 18.5 degrees, the Minor Lunar Standstill cycle of 18.6 years.

The kneeling god Heh represents the personification of the eternal cycles of time. Holding palms at each side represents the standstill points on the horizon during the Solstices and the moon’s Major and Minor declination cycles. The staff god motif can then be interpreted as a solar and lunar cycle map depicting the positions of the rising or setting points on the horizon. Depending on which position the figure is facing determines the path of the sun’s direction to either the Winter or Summer Solstice.

In this particular motif, we can deduce that Heh represents the Autumn Equinox moving towards the Winter Solstice. He holds the symbol of life, the Ankh, positioned on his arm behind him, signifying the moving away from the spring and summer seasons, the time of the year that gives life and revitalizes the cycles of nature.

On either side of the figure are hieroglyphs of the Bull, representing the constellation of Taurus, which appears in the Northern Hemisphere from October to March and disappears behind the sun during the Spring Equinox. Below the Bull is an arm holding a knife, symbolizing the harvest and the death of nature, coinciding with the Hieroglyph of a cut and harvested bundle of grain.

In the illustration of the Chair of Tutankhamun, you will see another key that unlocks a solar design principle. The 23.5-degree line intersects the “EYES & HANDS” of the motif. In Egyptian mythology, the eyes of Ra and Horus represent the sun. There is also another correlation between the eyes, arm, hand, sun, and horizon in relation to timekeeping. When you hold your outstretched arm to the horizon, the perspective from your eye to your hand to the sun represents 15 degrees of the sky. This method of timekeeping allows our body to be the measuring tool capable of dividing the sky into 1-hour divisions.

Horus The Saviour Motif

Popularized in the New Kingdom of Egypt around 1570 -300 BCE, Horus The Saviour motif follows the theme of the staff gods. Horus, pictured as a young child with the Uraeus on his forehead, stands naked on the heads of two crocodiles, holding two upright serpents in each of his hands. In his left hand, he holds a lion. In his right hand, he holds a scorpion and an Oryx. Above his head is Bes, the dwarf god who fiercely protects children from harm. On either side of Horus stands a staff with the symbols of Horus and Amun. Horus’ hair is braided to the side of his head, representing the scorpion’s tail and the constellation Scorpius.

“The back of your head is that of Dwn-cnwy, your braid is that of the scorpion.” 

– Coffin Texts, Spell 531

In Horus’ right hand, he holds a scorpion and an Oryx, representing Scorpius and Auriga’s constellations. The constellation Auriga (the Sheppard) is directly above the horns of the bull of heaven, located in the constellation of Taurus. Scorpius and Auriga (Taurus) are directly opposed on the wheel of the Zodiac. Auriga and Scorpius are also the asterisms of the Crook and the Flail carried by the gods and pharaohs, symbolizing Kingship (Crook-Auriga) and land fertility (Flail-Scorpius).

In his left hand, Horus holds a lion, representing the constellation Leo, the summer solstice. Horus represents Aquarius, the water bearer of the winter solstice, in the form of the naked child.

These occulted zodiac signs continued throughout biblical and hermetic texts as the four-headed Cherubs, famously depicted in the vision of Ezekiel with the heads of a man, a lion, a bull, and an eagle. Again, symbolically representing the constellations of Aquarius, Leo, Taurus, and Scorpius, in their four cardinal points on the Zodiac, marking the equinoxes and solstices during the age of Taurus (4,300 BCE – 2,150 BCE).

Above Horus’ head sits the face of Bes, the god that fiercely protects mothers and children from harm. Bes is the counterpart of Taweret, the fierce maternal goddess in the form of the hippo-crocodile-lion. Taweret is the great guardian of the northern sky, connected to the constellations Draco, Ursa Major, and Ursa Minor. In this asterism, Bes could take the role of the north star, which at this time of history would be the star Kochab, or the guardian of the north star, Polaris, both located in the constellation Ursa Minor. 

In this highly stylized motif, Horus is the solar deity, holding the solar cross of the constellations of the Zodiac. When applying the 23.5-degree celestial cycle design principle to this image, the top of the staff and Horus’s eye intersect with the Solstices’ lines. Measuring from the image’s base and the crocodiles’ heads align with the serpents’ eyes at 18.5 degrees, signifying the Minor Lunar Standstill cycle of 18.6 years. Horus the Saviour motif is an astrological motif of the sun’s yearly cycle through the four fixed constellations of the Zodiac, representing the solstices, equinoxes, and the Minor Lunar Standstill cycle of 18.6 years.

The Queen of the Night, Burney Relief, 1,800 BCE

If we go back further in time, we see the same design principle utilized by the Babylonians in Mesopotamia. The terracotta plaque known as ‘The Queen of the Night’ depicts Ishtar standing naked with owl wings and zygodactyl owl feet perched on the backs of two lions.

She holds a rod and a circle in each of her hands, referenced in the Descent of Inanna tablet as her “lapis measuring rod and line.” These are tools of the gods that measure the heavens and the earth. The tools in each hand are angled to 23.5 degrees and 15 degrees.

Her arms and wings are also aligned to 23.5 degrees. From her navel and womb, the angles of 23.5 degrees connect to the eyes of the lions.

Ishtar’s crown connects to the owl’s eyes at 28.5 degrees, the degrees of the major lunar standstill cycle that occurs every 18.6 years. In this lunar motif, Ishtar, like the owl, can navigate the sky and hunt in the dark.

As the fertility goddess, Ishtar represents the astrological cycles of the Spring Equinox. She stands on the backs of two lions, in the same style motif as we see in Egypt of Horus standing on the heads of two crocodiles. Horus represents the location in space inhabited by the winter water constellations of Aquarius, standing on the backs of Pisces Austrinus and Cetus, the dark water monster asterisms.

Ishtar, the virgin asterism of the constellation Virgo, is visible in the northern hemisphere’s night sky during the spring and summer months next to the constellation of Leo the lion.

During the months of spring, from March to June, the most notable stars in the sky are called the ‘Spring Triangle,’ which are made out of the three brightest stars of Arcturus, located in the constellation Boötes; Spica, situated in the constellation of Virgo, the virgin; and Regulus, located in the constellation Leo, the lion. Just as Horus was an astrological time marker of the winter, Ishtar represented the spring. 

The Cylinder seal of Ishtar from 2334-2154 BCE follows the exact same Solar and Lunar Cycle Design Principle Angles dating back over 4,000 years. This shows that these artists knew the celestial cycles of the Earth, Moon, and Sun, preserving this knowledge for future generations.

In this depiction, the ‘weapons’ on Ishtar’s back are angled to the Major Lunar Standstill Cycle of 28.5 degrees on the left side and 23.5 degrees Solstice angles on her right. She holds a rope to a lion at 28.5 degrees; her right arm is angled to 18.5 degrees, the Minor Lunar Standstill Cycle, while her left arm is bent to both the Major and Minor Lunar Cycle.

The Tablet of Shamash

Ishtar’s twin brother Shamash was the sun god, representing the sun’s heat, allowing the plants to grow during the summer. In this motif, a giant-sized Shamash sits on his throne, holding the lapis astrological measuring tool and line. The measuring rod is the exact length of Shamash’s arm and hand, from his elbow to the tip of his middle finger, making this rod a Cubit. In front of him is a pillar and a table that holds his symbol, the solar disc of Shamash. The disc of Shamash is being held up by two figures by ropes. If you measure the angles of the ropes, they are set to 23.5 degrees. These figures play the same role as the rope pullers depicted in the first motif of this article, from the tomb of Twosret. This role is to pull the sun across the horizon from Summer to Winter Solstice.

Three smaller figures are standing on the opposite side of the table, facing Shamash. If you add the heights of the three figures, they equal the measurements of Shamash’s body on this throne, symbolizing the three aspects of the solar deity. Above Shamash are the three symbols of Nanna, Shamash, and Ishtar. Shamash’s rod is pointing directly to the star of Ishtar at 21.6 degrees. If you track Venus’s position at each of its inferior conjunctions (when Venus is between Earth and the Sun), over an 8-year cycle, you’ll see Venus trace out a pentagram or five-pointed star pattern in the sky. Each point of the pentagram is separated by approximately 72 degrees (360 degrees divided by 5). However, if you look at the angle between successive inferior conjunctions of Venus and Earth, it averages around 21.6 degrees.

Shamash’s line of sight to the sun’s disc creates another 23.5 degrees. From the edge of the table that holds the disc of Shamash to his pupil is also angled to 23.5 degrees. Shamash represents the sun during the astrological season of Summer and Summer Solstice.  

Marduk Cylinder Seal, 800 BCE

The Babylonian Cylinder Seal of Marduk shows the Earth’s Axial Tilt with the Sun in three positions, marking the Solstices and Equinoxes. Marduk is depicted holding his weapons and standing on top of a hybrid beast with wings and a scorpion’s tail.

Rising out of Marduk’s back are three polls with the symbols of the Sun at the top of each. These polls are perfectly aligned to 23.5 degrees, making this image the most obvious solar motif that depicts its purpose. The beast with the scorpion tail can be an asterism of the summer constellations of Sagittarius and Scorpius, most visible in the northern hemisphere night sky during the Summer months of July and August.

As the solar deity travels across the sky through the twelve zodiac constellations, its character changes to reflect the cycles experienced on Earth and what is observed in the Heavens. 

Dendera Light Bulbs 

Constructed during the Greco-Roman period of Egypt between 54 BCE and 14 CE, the Hathor Temple of Dendera is one of the most exquisite examples of celestial motifs, architecture, and art, from columns carved with the faces of Hathor to the walls and ceiling covered with intricate scenes telling the story of the celestial bodies, gods, and goddesses, recording the celestial design principles for future generations. Many reliefs still hold onto their mysteries, while various interpretations have gained modern popularity.

One such motif is known as the ‘Dendera Light Bulb,’ seemingly because the image depicted resembles the shape of a modern lightbulb, with an encased serpent rising out of a lotus flower.

The lotus flower was connected to the goddess Hathor, symbolizing creation, rebirth, and healing. In the form of Neheb-Kau, the serpent represents the double of Ra and his Ka body. Neheb-Kau was responsible for bestowing life to the world by granting the Ka body at birth and retrieving it at death. The serpent is birthed into the world through the lotus flower in this motif. The two figures holding the lotus flower are depicted as double, signifying the physical and Ka bodies.

Ra and Hathor are the supreme solar and lunar deities that birthed the creator gods. The Dendera light bulb motif does not depict a light bulb; it is a highly stylized astronomical calendar that utilizes the design principle angles to illustrate the sun’s and moon’s life cycles.

The ‘Light Bulbs’ are composed of the angles of the Sun and Moon cycles. The left bulb uses the 18.5-degree angle below the serpent, signifying the Minor Lunar Declination cycle. The serpent is angled perfectly to 23.5 degrees, connecting directly to its eye. The top of the bulb is angled to 28.5 degrees, the Maximum Lunar Declination cycle. From the belly button, the line enters the serpent’s eye at 15 degrees, signifying the sun’s movement into hourly divisions.

The serpent on the left side displays the solar cycle, with the moon in its Minor Lunar Standstill cycle, while the serpent to the right depicts the solar cycle with the moon in its Major Lunar Standstill cycle.

The wall of Ramesses’ tomb, which predates the Temple of Hathor by over 1,000 years, also depicts a similar motif of the solar serpent rising. Not only is it similar, but it also follows the same solar cycle design principles.

The sun’s path is fixed in the sky on its yearly cycle, symbolized as a serpent bound by a rope hooked to the earth. This scene from the Book of the Dead, found on the walls of Ramesses tomb (KV19, 1,189 BCE), depicts this perfectly. Anubis stands facing the serpent while Thoth, in his baboon form (moon), stands behind him and turns away. The serpent is tied to the ground by five hooks holding five ropes. From the base of its tale to its eye, it is set to the angle of 23.5 degrees, while the body to its eye is set to 15 degrees. Anubis’s eye and staff also intersect the serpent’s eye at an angle of 23.5 degrees.

During the festival dedicated to Osiris, ropes symbolically raised the Djedd pillar. The raising of the Djedd pillar symbolized the resurrection of life returning to earth. Osiris, the god of the dead, was also the god of vegetation and agriculture, linked to the yearly inundation of the Nile River and the start of the new year cycle.

Menat of Hathor

Another relief in the Temple of Hathor that deserves our attention is the Menat motif. This motif is in the style of the Menat necklace, which is also a symbol of the goddess Hathor. The Menat necklace is known for its counterweight on the back that holds the front in balance.

In this scene, four strands of knotted rope extend from the Menat counterweight, each affixed to the top of houses in the style of the Babylonian gates of the gods. The gates sit on top of four pillars with the face of the goddess Hathor. Two pillars stand on the right side, and two on the Menat necklace’s left side. Between the two pillars on the right side rests the solar boat carrying the setting sun. The vessel that holds the setting sun is the solar barque that symbolically carries the deceased into the western horizon, the gate of the underworld, where the goddess Hathor greets and protects the path of the dead.

If you count the knots on each rope, you get 93 knots. It takes 93 days from Spring Equinox to enter the gate of Summer Solstice. From the pillar’s base to the rope at the top of the neighboring gate, it is aligned to 23.5 degrees. The Menat’s counterweight depicts the sun at 15 degrees, signifying ‘the hours.’ Here, we can also interpret the two pillars on the right as gaining 2 hours from the Spring Equinox to the Summer Solstice.

The Menat relief symbolizes the sun’s movement through the gates of the season between spring and summer. Hathor is Ra’s counterpart, and his balance is like the Menat necklace. She is the mother goddess of heaven and earth, who births the sun each morning and the moon each night.

Celestial Boat of the gods and goddesses

Located on the ceiling of the Temple of Hathor, we find a complex scene with a celestial boat motif rich with solar and lunar symbolism. I will attempt to simplify the elements.

On the left side of the motif stands the eight Ogdoad, who represent the primal forces that existed before creation and are tasked to oversee and maintain the balance of creation. In the next scene, we have three kneeling gods in the form of Anubis at the back of the boat and three kneeling gods in the form of Horus at the front. Anubis is the son of Osiris and Nephthys, who is seated behind Osiris on the boat, and Horus is the son of Osiris and Isis, sitting in front of Osiris. This scene retells the story of the death of Osiris and how Isis and Nephthys reassembled his body after his brother Set cut him into 14 pieces.

In the next scene, we see the 14 gods (aspects of Osiris’ body) being resembled in the form of the full moon, with god Thoth standing at the front overseeing. Symbolically, Set (the darkness) cuts Osiris (in the form of the moon) into 14 pieces (it takes 14 days for the shadow of the earth to cover the moon in darkness). Isis and Nephthys collect the 14 pieces and reassemble him so he can be resurrected. (It takes 14 days for the sun’s light to illuminate the full moon’s face entirely.)

Let’s work through the elements that make up the celestial boat motif from the perspective of “If the image follows a solar and lunar motif, the angles representing the sun and moon will be used as the design principle to map out the image’s composition.” 

The Was Scepters, a symbol of royal authority, are angled to express the solar and lunar design principles of 23.5 degrees of the solstices and 28.5 degrees of the major lunar standstill cycle. The scepters are coming out of the Shen symbol, representing eternity and completeness. The solar disc above Khepri features two cobras facing opposite directions. From the “V” shape on Khepri’s back to the cobras, eyes are also aligned to 23.5 degrees.

Element 2: Anubis Kneeling

Anubis, the son of Osiris and Nephthys, was the god who protects the deceased on their journey through the underworld. He is also the god of the dead, funerary rites, and mummification. In this composition, Anubis is designed with the principles of the 18.6-year moon cycle of 28.5 degrees major lunar standstill and 18.5 degrees minor lunar standstill.

Anubis is a hybrid composite of a man with the head of a Jackal, a wolf-like dog found in Egypt. The Jackal is connected to the night and the moon, as they are nocturnal hunters who are heard howling in the night, symbolically linking them to the night, the dead, and the moon.

Element 3: Horus Kneeling

Horus, the son of Osiris and Isis, was the god of the sky, kingship, and the sun. In this composition, Horus is designed with the principle angles of the solar cycle of the solstices and equinoxes, representing the 23.5-degree axial tilt of the earth. His body is also designed with a 15-degree angle, the amount of time the sun travels through the sky per hour, dividing the sky into 24 hours, 360 degrees, and the earth’s shape. As the hybrid composite of a human with the head of a falcon, Horus was symbolically connected to the movement of the sun traveling across the sky.

Element 4: The Staffs of the gods and goddesses  

By connecting the main elements of the motif to the celestial design principles of the sun and moon cycle angles, the entire motif comes to life with a geometric display of knowledge connecting the gods and goddesses to their respective solar or lunar qualities.

The staff and thrones are the guides that link to each element’s eyes to tell the story of what they represent. Encoded within this motif is the dead god Osiris, who is on the celestial boat of the heavens awaiting to be resurrected as the full moon. His body is designed with the celestial measurements of 23.5 degrees Axial Tilt of the Earth, the sun’s position during solstices and equinoxes, and the 15-degree movement of the sun per hour in the sky. The base angle of Osiris’s throne, 28.5 degrees of the Major Lunar Standstill cycle connects through the eyes of the goddess Maat, who represents truth, order, and the laws of nature, and the god Thoth in his baboon form, who represents wisdom, knowledge, and the moon.

Osiris holds a Was staff and Ankh in each hand, while Nephthys behind and Isis in front have a staff with a lotus flower on top. Osiris’s and Nephthys’s staff connect directly into their eyes at 23.5 degrees, while Isis’s staff aligns with Osiris Was staff at 23.5 degrees.

The eyes of Nephthys and Isis are aligned to the eyes of the Vulture goddess Nekhbet at 18.5 degrees, connecting them to the Minor Lunar Standstill cycle. Nekbet was the goddess tasked with protecting the dead pharaoh and all the children of Egypt. Nephthys and Isis’s eyes are also aligned to the heads of the Was Scepters located on the Winged Solar Disc at 28.5 degrees, the angle of the Major Lunar Standstill cycle.

Behind Nephthys stands Horus, holding a serpent and steering the celestial boat through the heavens. Horus is also designed to incorporate the 23.5 and 15-degree solar principle angles and the hours the sun travels the sky. Lastly, from the base of the stars under the boat to the heads of the Was Scepters that balance the Winged Solar Disc, another perfect 23.5 degrees is created.

Basket of Life – Ankh holding Was Scepters 

Carved onto the walls of the Temple of Karnak (1971 BCE), are symbols of the motif of the staff gods in the style of the pharaonic symbols of the key to life and authority, the Ankh and the Was Scepter. In this motif, the Ankh is holding the Was Scepters out to its sides, standing on top of the basket that carries the water of life. This symbol is designed entirely on the blueprint of 23.5 degrees. The Ankh represents the gate of the Spring Equinox, the time of year life returns to the world, while the two Was Scepters represent the furthest declination of the sun on the northern and southern points on the horizon that mark the Solstices.

Gate of the Sun – Bolivia

Discovered on the other side of the planet, at the site of Tiahuanaco, Bolivia, is a beautifully carved solar deity sitting on the top of a 10-ton monolithic stone gate. These ruins are credited to the Tiwanaku culture, who inhabited the area around 500 AD. The solar deity has 24 elements around his head, signifying the 24 hours a day. He holds a staff in each hand, following the staff god motif. The deity is carved to precisely integrate the design principle of 23.5 degrees through the entire work of art. How does an artifact found at two opposite ends of the earth, separated by thousands of years, create the identical  Solar Design Principle motif?

The Venus of Laussel, France. 23,000 BCE. 

How far into our collective prehistory do the design principles of the celestial angles go?

Discovered in France, dating back approximately 25.000 years, The Venus of Laussel bas-relief may be the oldest evidence depicting the celestial design principles.

The Venus of Laussel follows the ancient fertility goddess motifs featuring an overweight woman standing naked. She faces a bull’s horn that she holds in her hand while her other hand rests over her full stomach. Applying the celestial design principle to this ancient work aligns with two main angles, 29 and 24 degrees. What makes this even more impressive is that the Earth’s tilt was closer to 24 degrees 25,000 years ago, pushing the Major Lunar Standstill cycle to approximately 29 degrees.

Was the original purpose of the Venus of Laussel to symbolically encode the 18.6-year Major Lunar Standstill cycle, when the moon reaches its furthest declination point on the horizon?

Conclusion

Knowledge of astrological and celestial cycles has been encoded within the works of architecture, art, symbols, myths, gods, and goddesses since at least 23,000 BCE. Examples demonstrating this knowledge have been preserved through an advanced design principle incorporating a geometric language of angles found cross-culturally and throughout the ancient world.

“If the image follows a solar or lunar motif, the angles representing the sun and moon will be used as the design principle to map out the image’s composition.”

23.5 degrees – Axial Tilt of the Earth, creating the seasons, Solstices and Equinox.

15 degrees – Distance the Sun travels the sky per hour, dividing the day into 24 hours, 360 degrees.

28.5 degrees – Major Lunar Standstill Cycle occurring every 18.6 years. 

18.5 degrees – Minor Lunar Standstill Cycle occurring every 18.6 years.

By recognizing these ancient methods of persevering precise celestial calculations, we can finally start to decode and understand the incredible wisdom left to us by our ancestors.

For More Information, Check out Jason Quitt’s Book “Gates Of The Anunnaki”

GATES OF THE ANUNNAKI | Sacred Geometry Keys To The Gods

Did our ancient ancestors come to possess a knowledge so valuable that it laid the foundational blueprints of the first advanced civilizations? From neolithic stone carvings, clay idols, petroglyphs, pictographs, cuneiform numbers, and alphabets, how was this secret knowledge passed down through millennia of generations into our modern times? Who were the original teachers of the lost language of the gods, stars, sun, planets, moon, and the earth? Gates of the Anunnaki explores these mysteries occulted within ancient Sumerian tablets, mystical texts, motifs, symbols, numbering systems, and sacred geometry, unveiling the fractal nature of the reality of heaven and earth. It is through the knowing of these principles ancient mystics sought to understand the mysteries of creation and the hidden mind that manifested it into being.