Forgotten Ages Research

Memories of a Prehistoric World Survey and the Lost Sky Canopy

Product ID: EEE9

Report Topics:

• The connection between the Great Pyramid and the out-of-place Renaissance charts, both indicating a prehistoric global mapping of the world
• Elements of planetary mapping and the mathematics utilized found in ancient Sumerian, Hebrew, Mayan and Chinese literature
• Petroglyphs and rock art world-wide pointing to prehistoric surveyors reaching every corner of the Earth
• Uncovering the surveyors’ primordial code language in global symbols, linguistics and examples of mega-art
• Memories of how the sky looked when seen through a lost canopy—legends of haloes, rainbows, multiple suns and the closer appearance of celestial objects
• Was Stonehenge and other Megalithic monuments designed to observe and measure halo patterns in a canopied sky?

Full Report:

The various Renaissance charts reveal that whatever source maps they utilized were based on a mapping and surveying of the entire surface of the globe, which means someone in prehistory knew the size and dimensions of the globe. To measure the size of our planet and to chart its surface with great accuracy is an ability exclusive to the most sophisticated cultures because it requires a working knowledge of such mathematics as spherical trigonometry and the accomplishment of creating refined instruments for clocking, measuring and recording. We find this kind of knowledge associated with the Great Pyramid of Giza.

The first area of evidence is in the Pyramid’s outer and inner measurements. The Pyramid’s perimeter (the sum of its base lengths) is 3,023.13 feet, which is precisely equal to one-half minute of a degree of latitude at the Equator or one forty-three thousand two-hundredths of the polar circumference of the Earth.

Extending just beyond each of the Pyramid’s corners is a rectangular shallow impression incised eight inches into the surface, called a socket. Only the Great Pyramid of all the pyramids in Egypt has these peculiar markings. By measuring a perimeter as reckoned from the outside corners of the Pyramid sockets we arrive at a length of 3,043.7 feet, which is precisely equal to one-half minute of a degree of longitude at the Equator, or one forty-three thousand two-hundredths of the equatorial circumference of the Earth.

The entire Pyramid structure rests on a platform that protrudes from the edge of the Pyramid’s base an average of sixteen inches on each side. This platform, like the Pyramid, exhibit’s a high degree of precision in its construction. It is level over an average side length of more than 755 feet to within four-fifths of an inch.

The height of the Pyramid (with its missing capstone), plus the height of its base platform, is 482.7571 feet, and this equals one forty-three thousand two-hundredths of the polar radius of the Earth, or the distance from the Earth’s center to the North Pole.

What we have represented in these three lengths then in essence equals harmonics of the key measurements from which the Earth’s size and shape can be calculated, including the degree of equatorial bulge and polar flatness, to a precision matched only by today’s satellite measurements. As researcher and author William R. Fix noted about these measures:

“These are well founded objective data. They constitute the first conclusive evidence of a scientific civilization as high as our own in dim antiquity. Any careful survey of the Pyramid will reveal substantially the same values reported. These three key geodetic values of our planet so precisely fit, it is simply absurd to suppose they are not the result of intentional design.

“These measurements mean that whoever built the Pyramid had measured the Earth precisely. We do not know how they measured it, but that they did so is now an article of knowledge.”

There are other discoveries too which indicate that portions of the interior design of the Pyramid were based on a system of measurement superior to either the modern inch or meter. When the metric system was developed in France nearly two centuries ago the basic unit, the meter, was taken to represent one ten millionth the distance from the Pole to the Equator as measured on the Earth’s surface. However, only in the last few decades has it been discovered that the Earth is not a true sphere, but contains many bumps and bulges, so that the meter in reality is only an approximation, and can never be a true standard of Earth measurement.

Back in 1795 when the metric system was being debated, French mathematician Collet had argued in favor of adopting a system of measure which took one ten millionth of the direct distance between the Pole and Equator—the polar radius—as its standard unit. The polar radius has remained relatively unchanged through thousands of years, and is far easier to determine than surface distances.

Though never instituted, Collet’s system is, according to modern measurement experts, the most scientific and logical system yet proposed.

The Collet unit as one ten millionth of the polar radius equals 25.0265 British inches. It so happens that this unit, correct to four decimal places, is found within the Great Pyramid in three locations--in the Grand Gallery, in the Queen’s Chamber and in the Antechamber. Not only this, but a measure of exactly one twenty-fifth of the unit or 1.00106 British inches is also utilized in four other Pyramid locations, all in the Antechamber. Clearly, the use of the Collet unit and its fractions point to the Pyramid builders knowing the precise length of the polar radius of the Earth, which assumes a knowledge of the size of the rest of the planet as well.

The Pyramid builders were not only aware of the Earth’s dimensions, but also of its surfaces as testified to by the Pyramid’s location. If we look at a map of the world we find that the one latitudinal line which makes contact with the most land of any other degree is 30 degrees north latitude. The one degree of longitudinal line which makes contact with the most land of any other degree of longitude is 30 degrees east longitude. What is significant is that, even if the world’s ocean levels were to rise or lower several hundred feet, these lines of most land contact would remain relatively unchanged to within one degree. And what do we find located almost exactly where these two lines cross? The Great Pyramid. To have been able to place the Pyramid at this unique center means that the builders must have had a highly accurate awareness of the shape and distribution of the land masses of the world and to have at one time mapped its surface from one corner to another.

The link between the Great Pyramid and the Renaissance maps comes when we take a closer look at the Piri Re’is map of 1513. In the margins of the Turkish Admiral’s chart he explained that he had made his map as a composite of twenty-two ancient maps, many of them dating back into classical times which were copies themselves of charts going back even further.

What is amazing is the Piri Re’is map shows Spain, North Africa, the Caribbean and Central and South America in their correct positions with an average precision to within half a degree. Not only this, but the map accurately depicts several areas such as the southeastern coast and the Andes mountains along the western coast of South America, which no European or Middle Eastern explorer had yet charted or even visited in 1513. This would indicate that whoever had made the original source maps Piri Re’is copied from had had a far better knowledge of the Western Hemisphere than did the peoples of the sixteenth century.

One of the curious features of the Piri Re’is map is that it portrays Central America and the Caribbean islands at right angles from their usual (Mercator) positions, and the South American continent appears stretched out. Hapgood discovered the reason for this is that the original source maps Piri Re’is used had been constructed utilizing a circular geographic grid system. The Hydrographic Office of the United States Navy made a map using the same grid and in such a construction Central America and the Caribbean are indeed at right angles and South America appears slightly distorted. What is intriguing, the Navy also found that the center of their circular projection is situated at the Great Pyramid.

Another Renaissance map, the Portuguese Reinal map of 1510, was also based on a circular projection and it shows portions of the African east coast, Arabia, India, the islands of the Indian Ocean—and the Caroline Islands and western Australia, both of which were not discovered by Europeans until a century after the Reinal chart was made. Once again, the center of the circular grid for the Reinal map is located at the Great Pyramid.

What both the Piri Re’is and Reinal maps indicate is that someone long ago had the ability to map almost the entire surface of the Earth employing measuring techniques and map projections not developed by our civilization until the nineteenth century, and using the Great Pyramid as the prime geodetic point—that is, a reference point by which a measuring survey was conducted of the major land areas, and corrections made to compensate for the curvature of the Earth.

The fact that we find the Great Pyramid at the center of these ancient maps, and can discern the essential measurements of the Earth incorporated into the dimensions of the Pyramid itself, strongly suggests that the mysterious authors of both maps and monument were one and the same.

One of the major purposes of the prehistoric world mapping had been to locate and identify the major energy points along the Earth’s Crystal lattice grid. The Great Pyramid is located on one of these centers, and has powerful energy properties owing to its unique position in relation to all the land surfaces of the planet. On the Piri Re’is map, researcher Hapgood noticed the appearance of five other curious “centers” prominently displayed and located at regular intervals down the center of the Atlantic Ocean. The points are likewise features also found on many other Renaissance maps, characterized as a point from which radiate a series of straight lines like spokes of a wheel, many of which interconnect other points.

Mysteriously, there has been no adequate explanation as to the exact purpose of these points and lines, for they correspond to no known compass-bearing or other navigational sighting-points for the Renaissance cartographers. In reality, these points and lines are major and minor Earth energy centers.

The Piri Re’is map confirms this, for its five centers portrayed along the length of the Atlantic correspond precisely with five energy points of the Earth’s present Icosa-Dodeca Crystal energy grid system.

It is unfortunate that the Renaissance mapmakers, like Piri Re’is, knew nothing of earth energies, for it appears they copied some of the points and lines from the earlier source maps wherever they might serve as nothing more than an artistic embellishment, such as in oceanic areas where “empty” space could be filled.

Their ignorance of the true purpose of the points and lines, like the out-of-place accuracies of the geography of the maps, implies the Renaissance mapmakers had access to charts and knowledge from a pre-existing yet superior civilization, only certain features of which they could understand or grasp.

In the mythologies of the leading classical civilizations of the ancient world, we find preserved the story of a major god or hero figure who once took part in a journey around the world to survey its dimensions and probe its secrets—secrets having to do with hidden energy centers.

Gilgamesh, the great hunter-hero of the Sumerians and Babylonians, was described in cuneiform texts as:

“The supreme king, ruler of the Anunnaki (spirits of the Earth), deliberative prince, who surveys the regions of the world, and as bailiff of the underworld is lord of the beneath. He has vision like a god. He who knows the seas and everything else, whose eyes penetrate the dark, who possesses wisdom, even of the Unknown, and travels the foreign paths.”

Here we find allusions to a prehistoric survey of the planet linked with forces located below the surface, and the ability to dowse these energies along “paths” or tracks in the Earth.

In the Egyptian Book of the Coming Forth into Light, Chapter LXIV, found in fragment form in the shrine of the First Dynasty Pharaoh Udimu, is a description of the “spirits of the Duat” (the subterranean world) as being 4,601,200 in number, each 12 cubits high and forming two lines through the center of the Earth. The factor of 12 indicates that the measurement referred to is a geographic cubit.

It so happens that 12 x 4,601,200 cubits equals 55,214,000 cubits, which translates into a modern measurement exactly equal to two diameters of the globe. Chief among the gods of the Nile in terms of great wisdom and knowledge was Djehutis or Thoth who, among all his deific titles, was also known as “the measurer and enumerator of the earth,” and the “illuminator and energizer of creation.”

In the Popul Vuh, one of the few surviving books of the Maya, there is mention of, “the first race, capable of all knowledge.” The text continues by saying:

“They saw at once the entire world, from the place where they stood. Their wisdom was great. Their eyes reached every forest and mountain and lake, every hill, sea and valley. Verily, they were wondrous men.”

These words reflect some of the lost ability of remote viewing or seeing things at a distance. According to the Chorti priests, a people neighboring the Maya in Guatemala, their ancestors divided the heavens into a great quadrangle. The “powers” of this cosmic quadrangle were reflected upon the Earth as the solstice rising and setting points forming the four corners of the horizon by which they once measured the Earth. The early twentieth century mystic Auguste Le Plongeon noted that the Maya called a circle, as a measure of the Earth, by three names: ca-an, the double-serpent power,” can-bak, “entwining serpent power,” and ca-bala, the “double mystery” or “twice hidden.” Throughout the world, the serpent was the universal symbol of earth energies.

One of the most intriguing evidences of both a mapping survey and energy detections in the forgotten past is found in an ancient Chinese work called the Shan Hai King, or “Classic of Mountains and Seas.”

It is claimed to be the work of an early Chinese Emperor, the Great Yu, who before ascending the throne in 2208 B.C.E. had been commissioned by his predecessor to undertake an exploration and survey of lands far removed from the Orient.

In its day the treatise was considered a great scientific accomplishment, but much later, during the third century when much of Chinese literature underwent re-evaluation and condensation, the Shan Hai King was relegated to the status of mythology, since the scholars of that period could find no geography in Asia which fit the work’s descriptions. More modern scholarship reveals that the treatise is in reality an accurate survey of a major portion of the North American continent.

The account of this Chinese survey of over four millennia ago is very detailed, giving surprising portrayals of a land by those who must have been experienced observers.

The explorers told of picking up black opals and gold nuggets in what is now Nevada; of seeing “quivering trees” or quaking aspens in Colorado; watching seals sunning themselves on the rocks in San Francisco Bay; catching “red and silver fish” or salmon in the Columbia River; and were very amused by how a strange creature avoided its predators by pretending to be dead—the native American opossum.

One remarkable description pictures the beauty of a spot the Chinese called the “Luminous” or “Great Canyon,” where a “stream flows in a bottomless ravine” in a “place where the sun is born” at every dawn. The scenery described can only be that of a sunrise over the Grand Canyon in Arizona.

There is, however, one peculiar feature about the early Chinese survey, and that is how the survey was conducted. Very unlike what we would expect of an expedition report—in which the explorers would have begun at the coast, worked their way inland following winding rivers, streams, mountain passes and the topography of the land, then circle back around to their coastal landing point—the Shan Hai King instead depicts the survey made as a series of straight lines, joining together a number of mountain peaks running roughly north and south, with beginning and ending points found far from the ocean and laid down in complete disregard to physical land forms, obstacles and barriers.

Each section starts by describing the local features of a certain mountain—its shape, height, indigenous vegetation and animals, minerals and surrounding rivers—then gives a prescribed distance to take in a dead straight line to another mountain completely out of sight, which is then surveyed and detailed, and so on until the line ends abruptly.

In only a few instances in these surveys is it the nearest mountain described or the tallest or most prominent peak seen, from the preceding points left behind. Only certain mountains are described as if they are all joined together by some mysterious and unseen thread only they have in common.

What these “threads” or patterns suggest is that the Chinese surveyors did not randomly explore the American continent, but appear to have followed specific prescribed routes as if they already possessed maps of the regions they visited, traveling along depicted pathways, carefully taking note of given directions and distances, and simply reporting what was discovered at those points. The characteristics of these “line and point” pathways are the same for many ley-energy systems found all over the world. The maps the Chinese used were very likely source maps from far earlier surveys of North America which portrayed the continent’s earth energy grid system.

The directions and observations made are what one would expect a Chinese fung-shui practitioner to have made, and needed in determining the flows of the lung-mei or “dragon currents” of earth energies in the local landscapes.

The ancient Chinese appear to have been simply following pathways once laid down by a far older civilization, the members of which not only made maps but also left physical signs of their having visited every continent.

William and Mae Marie Coxon, amateur archaeologists, have spent several decades studying petroglyphs and other rock art found around the world. The conclusion of their research has been that at a very remote period in human history a group of people they call the Stone-Writers left their traces in practically every corner of the planet. By careful comparison, the Coxons discovered 241 special sequences of particular geometric signs and symbols. The distribution of examples of these sequences was 201 in the Middle East, 171 in the Far East, and 131 in the Americas. Using various dating techniques and comparing the precedence of many of the symbols to those used by the later known ancient civilizations, the two researchers date the world explorations of the Stone-Writers to circa six millennia ago.

From the drawings themselves, the Coxons were able to describe the Stone-Writers as average to above average in height, possessing great strength and endurance to have penetrated into the inhospitable terrains where many of their glyphs were found.

The researchers are convinced that the Stone-Writers were anything but barbaric hunters or nomads, being an intelligent people who were systematic in what they did, the symbols having meaning and purpose in their repetition and placements. The Coxons note:

“They traveled the oceans, or at least the coastlines, and they penetrated far up into the continents along the rivers. Along the streams, lakes and ocean shores, they left guide signs to mark the way for others who followed them.”

The Stone-Writers were thus explorers and geographers, and the regions they covered match perfectly the same areas depicted on the prehistoric maps of old.

The Coxons’ work in symbols has been verified by a number of other researchers. English archaeologist S. F. Hood, after studying tablets at the prehistoric site of Tararia in Rumania, discovered correlations between the tablet symbols there and those found in Crete, Iraq, Egypt, and the Balkan countries. His conclusion was that a system of signs was used over an extensive area six thousand years ago.

N. Vlassa, of the Museum of Cluj, supports these findings with discoveries of his own. Almost identical symbols from the same time period appear at Vinca and Tordos in Rumania, at Troy, and on the Aegean island of Melos.

On the basis of his own research and that of his colleagues, Hood believes that a single system of glyphs originated in the Middle East and were disseminated from there over a wide area in a very short time. Oswald O. Tobisch has carried the research a step further, and, like the Coxons, sees striking parallels in the same symbols appearing in Africa, Europe, Asia and America.

Symbols left on rocks and tablets for others to read presupposes communication by a commonly understood language. Hyginus, the Roman mythologist, recounts in his Fables how in a previous age “before cities grew” and when “gods reigned,” all men were united together under Jupiter and conversed freely together in only one universal tongue.

The same memory is preserved in the Hebrew Book of Genesis, where before the destruction of the Tower of Babel, humankind knew “one language and one speech.”

Language researchers have noted the unusual fact that there are no primitive communications in the world. Primitive people are able to express many sophisticated and complex concepts, often at a level far more complex than that found in civilized societies. In all appearances modern languages have degenerated from complex to simple, something quite opposite from what experts have expected if humanity’s speech patterns had been always developing.

What form the earliest known communications took was described by research authors Santillana and von Deschend as, “the remnants of a pre-literate ‘code language’ of unmistakable coherence.” From mythology, which is an expression of the last echoes of this prehistoric system, we find glimpses of a central theme or idea that had once been the koine or lingua franca of a truly universal scope:

“It concentrated on numbers, motions, measures, overall frames and schemes, on the structures of numbers, geometry.”

Everywhere, the images focused on all things in terms of their energy, their measurement, their integral role in the workings and inter-relations with everything else which was the mental matrix of the Earth Crystal energy system.

In terms of numbers, in the ancient world quantities were associated with letters as in Hebrew and Greek, so that words and names not only had their obvious meaning, but they had numerical values as well, learned in the science of gematria.

Author Cyrus Gordon noted that early symbols were not only interchangeable for sounds and numbers, but also for signs in the heavens. Thus the Greek alpha stands for the first letter and vowel, the number one, and as it is derived from the Phoenician and Egyptian pictographs for a bull’s head, is also the sign of the constellation Taurus. Here, symbols, names and mythic metaphors are interpreted as being cosmically linked.

Within each can be found the Earth (a numbered measure), humanity (as expressed in the vocalization of intellect) and the heavens (the astrological energies), tied together in a holistic bond in a system once understood to those Ancients perfectly attuned to the universe about them, but largely lost and incomprehensible today.

In the eighteenth century German philosopher Gottfried Wilhelm Leibniz believed that all ancient languages split apart from a single proto-language. Anthropologist and writer Richard Rudgely acknowledged that such a primordial language must date back at least ten thousand years, possibly nearer to fifteen thousand years.

This would have been the amount of time necessary to explain the many yet diverse correspondences in language that exist as far-flung as the deserts of southern Africa, the Amazon rainforest, the Arctic and Europe. Linguist Merrit Ruhlen has called this original language Proto-Global.

A universal language must have once expressed universal thoughts and concepts, and the remnants of these can still be discovered instilled in many aboriginal and ancient languages extant today. John Philip Cohane, an Irish etymologist, has done pioneering work in studying word origins in almost every language around the world, and has discovered that many words contain similar root combinations above and beyond what chance would permit. As Cohane noted:

“On the basis of the evidence it would seem that a high percentage of the people of the earth today are far more closely related than is generally assumed and that they are bound together by at least one word stream.”

Chief among the recurring word roots are two: hawa and its variants, hwa, awa, ava, ua, hua and oa, which Cohane discovered denoted a female creative deity (as in the Hebrew Eve, the “mother of all living”); and oc or og and its variants, ac, us, ach, ash, ag and ug, who is a male fertility deity. Global words numbering in the thousands often reveal these two forms repeated in various proportions. As to their applications, Cohane also observed certain recurring themes, with the key words dealing with fertility, sacredness, water, great age, building, construction and navigation.

These major categories of root words also happen to express the major themes of the prehistoric earth energy systems: the fertility or creative forces of the lines of the grid, the underground waters associated with the currents, the great age of the system antedating all the dynastic and classical civilizations, the tremendous labor of building the stone monuments along the lines, and the knowledge of navigation needed for mapping out the world’s geography and for finding the earth energy centers.

At the basis of all this was the creative energies themselves, always remembered as being in duality or polarity—echoed in the world root words as the universal female-male combinations.

Later in his research Cohane was able to establish that there had been two major dispersals of peoples, both possibly from the Middle East, in the distant past, each set of travelers taking with it a previously established group of root words.

The second of these was heavily concentrated in a limited area of the world—the Mediterranean basin, Europe, Africa, parts of Asia, the West Indies and Brazil in one direction, and in Japan, the Philippines, Australia and New Zealand in the other direction.

The first dispersal, however, though the traces are less apparent today than those of the second, covered the entire world, and in a very short time. This was not the result of a random pattern of migration, but rather a deliberately planned effort to explore the whole surface of the planet.

The language of the Ancients was also expressed through art, and just as their earth energy engineering encompassed whole landscapes and incorporated the powers of the human mind, so too their art took in vast stretches of the natural order, and inspired the deepest recesses of human consciousness. Alessandro Talamonti, an Italian archaeologist living in Venezuela, studied a little known subject of prehistory which he simply called “rock sculpture.” He concluded that:

“A mother civilization was once basically uniform the world over. All people shared the same language, the same religion, and practically the same customs. I should like to suggest that the script of that ancient language was written on stone, largely gigantic signs on the countryside by way of ’plastic’ symbols, whose intrinsic meaning was perhaps known to all the world’s initiates from time immemorial, since the beginning of man on earth—a time when names were the expression of the ultimate structure of things and mankind spoke only one language with few words, communicated telepathically, using picture symbols from his unconscious.”

Talamonti observed that the Ancient artists used only natural and lasting materials such as stone, earth and rivers (as in the monuments of the ley-energy systems), reshaped through the manipulation of natural forces of fire, air, water, magnetism and sound. In scope, they molded everything from microscopic images onto tiny stone surfaces, to sculpturing in practically every kind of device to enhance the works—bas-relief, the play of light and shade, and even multiple-figure carving, in which several images were incorporated into one work, with each one seen only from a certain angle. Often, a work on the proportion of a hill, mountain or countryside, could be seen as one entity from a distance, but dissolved into integrated yet individual subjects as the observer got closer.

One of the most fascinating techniques was the cinematic effect or the constant apparent motion in a sculpture, as the light and shadow cast by the Sun altered hour by hour, during the course of the day. In some cases, a work of art did not reveal itself fully except during certain seasons, or on certain days of the year, when the Sun’s angle was just right—usually at the time of solstices or equinoxes, or those days tied to local activations of earth energy systems.

The subject matter was of a wide variety, but again always of natural themes: profiles of full-bodied men, women, animals, birds, and what Talamonti called “strange beings completely unknown and mysterious to modern man,” who have “a strong personality in their expressions”—earth spirits, so often spoken of in ancient mythologies.

Another prehistoric art visionary was Daniel Ruzo, who identified similar fashioned rock formations in such diverse regions of the world as Peru, France, Italy, the Carpathian Mountains, among the Pacific islands and in the American Southwest. As Ruzo remarked:

“Every kind of sculpture technique was used in the execution of these works, which can be best appreciated only during the months of June and December, when the Sun’s rays come from the extreme points of its declination. Many of them are connected with each other and with corresponding points of view, so that straight lines can be drawn to link three or more important points.

“If some of these lines are extended, they would indicate approximately the extreme positions of the Sun.” These lines, too, are the energy line systems for the world-wide prehistoric grid systems.

Among the most fascinating of these works was one Ruzo found in Peru on the Marcahuasi plateau, located about a hundred miles northeast of Lima. Here is the carved head of a man which, when viewed normally, appears elderly—but when seen as a photographic negative, it has all the vibrant features of a young adolescent. Ruzo wondered, did the Ancients who carved this head have the ability to enter altered states of consciousness at will, in order to see the two aspects of this work?

Significantly, Ruzo also discovered still more examples of artistry incorporated in many Megalithic monuments. The great monoliths of Stonehenge, and other standing stones along the global energy grids, have hidden faces, animal figures and spirit images that can only be seen when the Sun’s light strikes them just right. As Ruzo noted:

“One can only conclude that certain artists, whose origins are wrapped in mystery but who were no doubt trained to a kind of four-dimensional form of art, had for thousands of years carried on their function as sculptors. I am of the opinion that in all these places we have witness to a vast civilization that spread over the earth.”

As significant as the large-scale artistry are the smaller and far more obscure form of prehistoric art-language left to us all over the world as rock books. La Van Martineau, in his book The Rocks Begin to Speak, stated his belief based from his studies that the Ancients projected their ideas as symbols, which could be understood universally, and had universal applications, though these were discernible and recognizable to only the truly super-conscious few. There are a number of psychics and sensitive individuals today who have “seen” such symbols projected onto what look like ordinary rocks and stones, but were actually made out of specially molded materials in the forgotten past.

Each one of these rock books may contain hundreds, even thousands, of symbols or images which, using the higher perceptions of the mind, can be distinguished and put into an order that become individual frames of a “motion picture” in stone. The rock books are thus almost alive, each telling their own story to a few who have the ability to observe them.

The images depicted also extend down into the microscopic. In one instance, it is reported that in a rock picture showing a woman wearing a pendant, the images inscribed into the pendant also contain a story sequence in itself, completely separate.

What the psychics bemoan is that, today, thousands of rock books are scattered about everywhere—in deserts, quarries and rocky tablelands—and because they are nearly indistinguishable from ordinary rocks (at least to ordinary eyes), whole volumes and libraries of rock books are constantly being crushed into gravel and powder, ending up in highways, fill, sidewalks, cement blocks and the like, products of our modern civilization. The rock books, which were purposely placed in random and natural locations so that they would be discovered and “read” by the sensitive initiates of a bygone culture traveling across the Earth, from one power center to another, are tragically being destroyed by a society which cannot even comprehend their existence.

The various Renaissance maps point to the former existence of Earth’s lost canopy, which was composed not just of vapor but in part also of hexagonal-shaped ice crystals, as are remnant clouds found very high up in the atmosphere today. The Sun’s and Moon’s rays passing through the crystals would have been refracted, creating haloes and other spectacular atmospheric phenomena. Today, we see these light shows on rare occasions when conditions are just right, and they take the form of mock suns, rings, light circles, sun pillars, crosses and sun dogs.

But thousands of years ago, with a canopy having some crystalline components in place overhead, such halo phenomena would have been an everyday occurrence, and prehistoric humanity would not have failed to have noticed them.

As one example, the Navajo remember a previous age when only Holy People inhabited the world. They lived in harmony, and this concord was seen in their environment where the sun, the Holy People, and their sacred hogan homes were everywhere “wrapped in rainbows.” But arguments emerged, conflicts and harsh words came forth, and the peace was broken. As a sign of this tragedy, all the rainbows disappeared. Soon a great flood of waters threatened the Holy People. Only a handful escaped by climbing down sacred holes in the earth. After the danger had passed, the people witnessed the creation of a new Sun, Moon and stars in the heavens. The gods came to communicate with the Navajo one last time by holding a great feast, and then they retreated into the highest sky. To this day the Navajo people commemorate the lost Age of Peace by surrounding a symbolic disk of the Sun with a halo of colored feathers, a memory of how the Sun in that remote time once looked, but looks no more.

There also exists samples of prehistoric and ancient art from all over the world—from China, Egypt, the Americas and Europe—which shows that early humanity also captured these images of halo patterns and preserved them on stone and metal artifacts. More than this, the Ancients studied and even predicted halo occurrences. The evidence is found among world Megaliths and other monuments.

Careful measurements at Stonehenge reveal that the observation spaces between the large trilithons and sarsen stones in the great circle not only open to seasonal risings and settings of the Sun and Moon, but also pinpoint the halo patterns which would have accompanied these risings and settings, when they were seen through the crystal-particle canopy. The edges of many of the stones had been purposely shaped into conspicuous convex or concave outlines, so as to further facilitate the viewing of the great arcs of light that once encircled the solar and lunar orbs.

Specifically, the Stonehenge monuments were so placed as to purposely measure and record the halo patterns seen on the solstices and equinoxes. These “hidden halo” patterns are also intrinsic to many other ancient stones and sites, including Callanish, Avebury, Borrowston Rig, Easter Edfowr, and a multitude of similar British Megalithic circles.

They are likewise found among the Giza Pyramids, in the city plan of old Jerusalem, at Mecca, and far beyond. The measurement and prediction of such recurrent refraction light patterns could only have been viewed on a consistent basis through a perpetual layer of high altitude ice crystals. This is found in practically all major Megalithic monuments the world over—so that the halo phenomena must have also been a truly global occurrence.

There are further clues that the Ancients were interested in observing canopy halo phenomena, through their being linked to the flow of Earth currents. The Stonehenge dates for viewing haloes, for example—on the solstices and equinoxes—were also important times for when the terrestrial forces peaked along several ley-energy lines.

There is even a curious association of numbers. In legends and stories from around the world, the number nine has had a special meaning in terms of astronomical folklore as well as with earth energies. It can be seen in the nine celestial dragons of the Emperors of China, the nine maidens of Apollo, the nine old crones who drive Hamlet’s Mill at the North Pole, the nine cows of the African Masai tribe, and the nine-headed heavenly serpent of Angkor of the Indian Nagas.

It so happens that the number of major refractions of light through a crystal of water-ice are nine—22, 46, 90, 120, 180, -120, -90, -46, -22 degrees. Thus at optimum conditions, the rising Sun or Moon, seen through the crystalline canopy, could have produced nine mock suns or nine great arcs or nine sun pillars, or the equivalent for the Moon. Under less optimum conditions, the halo patterns would have been reduced to seven, five or three figures—also important numbers connected with earth energies.

Significantly, multiple Suns and Moons in the sky are remembered in many mythologies—from Egypt at the end of the third millennium B.C.E., from the Hindu Vishnu Purana, Book 5, chapter 1, and from Sumatra, China and North America. Among the latter two peoples there is striking agreement on the number ten, with the real sun as king or chief, distinguished from the other nine.

It is said they existed together in a straight line or among the branches of the great Sky Tree, and that one day an angry spirit of mythic hero—a coyote (California Indigenous Peoples), the archer Ngi (China), or the Solar Deity himself (Sumatra)—destroyed the other solar images, and only the true sun remained.

The basis for a link between the halo phenomena and earth energies is that the haloes represented conditions of the canopy itself. One of the purposes of the energy system was to maintain a balance between the Earth and the atmosphere. The canopy formation was an important aspect of this balance on a global scale since the canopy, by its actions as a modifier of world temperature and barometric pressure, helped subdue and reduce destructive wind and storm activity, bringing them within controllable and predictable parameters. In other words, the placement of standing stones and other ancient monuments at key places on the Earth’s Crystal energy system allowed subterranean forces to flow upward, and in their creative and energizing capacities—as “pillars supporting heaven” in mythology—they helped form and maintain a canopy to the benefit of all life on the planet.

At the same time, the various monuments were also used as sighting instruments to measure light refraction haloes formed by the canopy, which told the Ancients the state and condition of the canopy—its thickness, height, particle constitution, etc. And if changes were warranted to improve the canopy, then corresponding adjustments were made in the redirection or alteration of earth energy potentials by modifying existing stone monuments or incorporations of new ones.

It was at the time of the end of the Golden Age when the Megalith-Earth energy system was abandoned that the second canopy collapsed. For once the controls were removed, and the canopy no longer had its supports of energy “sky pillars,” imbalances occurred--the great “heavenly bridge” or “watery vault” which had protected the Earth, could exist no more, and fell apart.

With the right atmospheric conditions, the canopy would have reflected an inverted mirror image of the world below it, upon its underside. In Job 37:18, the post-canopy patriarch is asked, “Have you spread out the sky, which is strong and is as a molten looking glass?”

The Sumerians likewise believed that the ancient vault of heaven was partially made of tin, because of its high reflective ability.

Homer, in the Iliad, Book V, also remembered the “brazen heaven” or the sky as polished metal. At certain times of the day or year, to observers on the surface, gazing up into the water canopy layer allowed them to clearly see the full panorama of landscape features surrounding them. Here is the answer as to how many prehistoric peoples were able to accurately lay out huge effigies or animal figures and lines (such as at Nazca in Peru), which could have been nearly impossible to see from any perspective on the ground. Simply all the builders had to do was look up, and there were their works reflected in full in the canopied sky above.

In fact, the phenomena was an aid in the mapping and construction of the world energy lines in general. Since as it has been observed that the Earth grid system today at times manifests itself in linear cloud formations, it was the same pattern that was once observed imprinted upon the prehistoric canopy, and by tracing the patterns on the surface, as the lines were seen criss-crossing the mirrored lands above, so the major outlines of the system emerged.

Not only was the immediate surface area observable, but so too were distant regions merely by witnessing multiple refractions coming from over the horizon, much like images could have been beamed across the heavens to be seen and read by peoples over vast distances. The lighting of beacon fires at key places and at key times of the year was a dim memory of this.

There was also one more added advantage to the canopied world system. The canopy layer acted as a giant magnifying lens through which at night the planets, stars and galaxies appeared bigger, brighter and far closer than they do now.

Modern astronomers are often left in awe of the wisdom of the Ancients concerning the night skies, for their earliest writings reveal an intimate understanding of the movements of the orbs and their true appearances.

Nineteenth century British historian George Rawlinson wrote that he found evidence the Babylonians knew that Jupiter had moons thousands of years before they were supposedly discovered by Galileo. The Babylonians also noted in cuneiform texts that Venus has “horns” or crescents, and goes through phases like the Moon. The Assyrians depicted the god Nisroch, their equivalent to Saturn, as surrounded by rings. The Hindus claimed to know two major planets beyond Saturn, what today we call Uranus and Neptune, not discovered in Europe until the nineteenth century. The Chinese accurately described galaxies as huge clusters of stars, of which our Sun is only one. Jonathan Swift, in Gulliver’s Travels, anticipated the discovery of Mars’ two moons from ancient sources. And the early Maya recorded definitive measurements of the transits of Venus across the Sun’s face.

What is remarkable about all these observations made by the Ancients is that none of the above could have been seen without a good telescope. The question is, did the Ancients even need a telescope? Or were the original observations made long ago by simply espying the heavens through a natural world-embracing canopy “lens” which brought these details into full view with the naked eye alone?

And how many legends are there the globe over which tell the tale that in ages past the “sky gods” once dwelt closer to humanity, but they have since receded into the deeper reaches of space? Could it also be that the astrological energies of the planets, the “celestial patterns” which spark our personalities and form the guiding framework of our lives were also magnified as they passed through the canopy and bathed the surface of the Earth?

The canopy concept in its essence was the unifying principle which once helped to interweave human comprehension of all existence into a harmonious whole. In gazing up at the high canopy, early humanity beheld the starry heavens brought closer to them in sight and influence. Upon the mirror of the canopy at special times, they also witnessed the reflection of their own living world, its subtle shapes and forms as well as the products of their human ingenuity and consciousness, in great works of Earth art. And so, too, the canopy manifested great linear patterns created by the patterns of earth energies rising from deep within the planet itself. Thus, looking on high, prehistoric humanity witnessed in one all-embracing image the integration of cosmos, life, mind and planet, as being One.

Know that what was of our past is also a prophecy for our future. Part of our work one day will be to restore a new canopy about the globe, and bring back its benefits of health and longer life to all living things. It shall also serve as the enveloping placenta for not only a Sacred New Earth but also a Sacred New Humanity.

[Copyright 2009. Joseph Robert Jochmans. All Rights Reserved.]