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"And God said, this is the token of the covenant with you; which i make between me and you and every living creature that is with you, for perpetual generations; I do set my bow in the cloud, and it shall be for a token of a covenant between me and the Earth" (Genesis chapter 9 verse 12-13)


Et in Arcadia ego...few have known the meaning and implications of this enigmatic phrase carved upon the tomb in the painting by Poussin. Who is (or was as the subject appears to be deceased)is in Arcadia, and what is so important about this area of central Greece that great mystery and symbolism can be associated with it?

Arcadia was an area of central Greece surrounded by mountains, enclosed within was a land cut off generally from what was happening elsewhere, thus the inhabitants were thought to live in an unadvanced rustic state, untroubled by events in the greater realm, enjoying child-like innocence as it were.

Thus we see three shepherds and a shepherdess within the arc of mountains of Arcadia, who seem in an unknowing state to be in the process of discovery, though the shepherdess has a demeanour of knowingness. The first clue as to the higher symbolism conveyed is in the colours the shepherds wear, the shepherd in white represents the planet Mercury, the one in blue represents Earth, whilst the shepherd in red represents Mars, the shepherdess in yellow represents the planet Venus. The three primary colours therefore, and white, which is the sum of all colours of light.

This then gives us an extended meaning for what Arcadia could be given as representing, the four inner planets of the solar system, abiding in blissful innocence, seperated from the rest of the solar system or Universe, in actuality by the shattered rocky fragments of the asteroid belt, the first frontier as it were, from Mars.

The geometry of the painting is also held to convey symbolic meaning which should be looked at to understand the implications of the whole. First by establishing the grid system, which can be deduced to be fundamentally based on a 7:5 square ratio, overlaying this also with the 45' angle grid which though straightforward was held in highest esteem in the culture of ancient Egypt, were it was used to represent the pattern of the Heavens.


Having established the routine 90 and 45 degree angle grids which were a staple of classic geometry, one can look at more particular angles of the composition, the staffs of the shepherds. The staff of Mercury, in white, essentialy projects at a ratio of 3:1 squares, the staff of the shepherd in blue running more or less parrallel with this. It can be seen there are other compositional aspects which could be related to this ratio also. The staff of Mars, in red, however projects at a ratio of 9:1 squares, three times greater. It is the extension of these two staffs to meet 9 squares down, and it is the numerics derived from the extended grid that allows one to deduce who is, or was, in Arcadia (the extended grid may also be related to the fact that Poussin worked out his paintings through three dimensional model constructs, thus it could represent the horizontal projection of his model box and figures viewed two dimensionaly).

At this point what can also now be pointed out due to furthur investigation is that this perfectly corresponds with clues given through the Sion parchment, were the exact same geometry is projected onto the parchment, and which gives furthur insight into some of The remarkable geometric projections. Thus the link is confimed between the Sion parchment and the two paintings suggested to contain this key, the Poussin and Teniers. The overall projected grid of the Poussin is 7:9 in proportion, consisting therefore of 63 whole squares, though the evidence suggests that these should be furthur subdivided into 4 x 4 sub-squares, to give an overall grid of 28 (7 x 4) by 36 (9 x 4). It is these figures that are the numeric key to the Arcadian enigma, as according to Bodes law the distance of the asteroid belt is at 7 x 36 million miles from the Sun, or 28 x 9, both giving the distance of 252 million miles from the Sun.

Given the method of the derivition of Bodes law, the basic unit of astronomical measure is 9 million miles, as Mercury is represented by the number 4 and is 36 million miles from the sun (thus 36/4=9), whilst a whole unit is 36 million miles were Mercury is taken as the basic whole unit (thus 36 composed of four quarters of 9, as in 360/90 geometry).

Thus in quarter units the asteroid belt is 28 x 9=252 from the sun, or in whole units 7 x 36=252.

These mathamatics i've covered on the Planetary Distances page, also there is an absolutely remarkable mathamatical configuration between the sum of intergers of 28 and sum of intergers of 36 (the infamous 666...)which centres upon the number 252 and which i have also covered on the Marriage Mathamatical page...

It should also be noted that Venus is 7 units of 9 million miles from the Sun at 63 million miles, whilst a furthur 9 units takes one to Mars at 16 x 9=144 million miles distant, thus the simple formula of a 7 x 9 rectangle can symbolise the Venus/Mars relationships. One of the main subjects of the painting is that of measuring staffs relating to planetary distances. Earth at 10 units of 9 million miles distance from the Sun could be represented by the 2 x 5 square height of the painting itself.

..Clues have been given as to how this painting should have been read, Poussin was said to 'guard the key' related to 'blue apples at noon'. These clues are very straightforward once one knows what is being refered to, ie the planets of the inner solar system, for Earth with its rounded orbital period of 360 days, the ancient sacred year, is understood in esoteric circles as equating with 360 degrees, or the full circle of 360' Noon, the position of the clock hand at mid-day, whilst again Earth is symbolised as blue. A blue apple at noon therefore suggests the planet at 360 degrees, and following this approach for the other three planets provides one with the key.

Mars actual orbit of 687 days is rounded to 675' ( the clue number of "681" is the mean of the actual orbital value of Mars at 687 days and it's rounded degree value of 675', ie 687 + 675/2=681), that of Mercury's 88 days to 90', and the 225 days of Venus' orbit are 225'...and that is the key that turns the lock.

As this all revolves around 45' and 90' angles when projected from a given centre, the diagrams i created explaining this absolute key to geometric esoterica on my page about the essential esoteric numerics of Israel can simply be super-imposed and seen to correspond...the numerics of the double circuit.


Who then was/is/ever more shall be in Arcadia..?..the answer is Vulcan or Hephaistos, the former purple planet now reduced to the asteroid belt. There is/was a colour sequance of planets according to the rainbow, blue (Neptune), green (Uranus), yellow (Saturn), Orange-Red (Jupiter) , Purple (Vulcan), Red(Mars) etc.

Vulcan was at the centre of the stones of fire, the planets, the begining ending of a colour sequance that goes into reverse after the planet...

"Thou art the anointed cherub that covereth: and i have set thee so; thou wast upon the holy mountain of God;thou hast walked up and down in the midst of the stones of fire" (Ezekiel chapter 28 verse 14)

That particular chapter has been seen by some as refering to the esoteric knowledge of the purple planet whilst exoterically refering to the purple clad angel/king (m'l'k) of Tyre.

"Son of man, take up a lamentation upon the king of Tyrus, and say unto him thus saith the Lord God; thou sealest up the sum, full of wisdom and perfect in beauty. Thou hast been in Eden the garden of God"

Vulcan is the name that would properly fit in with the naming of the other planets after Roman Gods, and as the purple planet this essentialy describes the dualistic nature of the blacksmiths art, combining fiery red heat with cool blue water, during the forging of metals.

It was Hephaistos, the Greek equivalent of Vulcan that nailed Promethus to the side of Mount Caucasus, the coming of the light , the race of metal workers and engineers, it was Hephaistos who created the first woman Pandora, from base materials.

As master craftsman, and teacher of forbidden arts such as working stone with metal tool, carving inscriptions on such, and creating weapons of war, many of the attributes of the cult of Hephaistos are also attributed to the fallen angles of Enoch, teaching men all manner of crafts and creating objects of great beauty for women. Aphrodite/Venus was the wife of the brutish Hephaistos/Vulcan, a hulking giant in statue, yet capable of exquisite and sensitive craftwork, though she was unfaithful to him with Ares/Mars, upon whom he took revenge, and whom looks somewhat concerned in the painting as to whom may be in Arcadia...

In "The Golden Ass" by Apuleius, Mercury is refered to by Venus as "her brother of Arcady", his birthplace, but also especially interesting in the novel is the story of Cupid and Psyche. Cupid was the son of Venus and Vulcan, though they were now estranged, and Mars was the resented step-father, for this reason Cupid seeing himself as "son of the widow". Cupid falls in love with the human Psyche, a woman seen as an Earthly embodiment of the charms of Venus, whom the God of amorous affections eventually marries in the story, and the child born to them is "pleasure" (a child generally thought to be in some way connected to "the fall of Eve..."). In recent years a probe sent to the asteroid belt, formerly the planet Vulcan, landed on an asteroid named Eros, the Greek equivalent of the Roman Cupid, son of Vulcan, who was himself a son of Jupiter, the next planet out...sadly the probe was not named Psyche.

The story of Cupid and Psyche has been compared to later tales of "Beauty and the Beast", and there are similarities, intimitating that the incursion into Arcadia is also a tale of great romance, were dark forboding taboos are broken and overcome, forbidden love with fearsome outsiders creating mistrust even of pleasure itself...and the treasures of the creative arts.


The great technical skills of Hephaistos made him ever popular with women, and his magic powers of creation enabled him to use materials to gain a hold over others, it is said by some that by concentrating upon technical know-how however he lost the simple art of being, such as existed in Arcadia, and had no concept of morality, only science ( the "pure reason" of Vulcans...), in many ways he corresponds to the Masonic figure of Tubal Cain...his abilities to give life and motion to that which was inanimate, contrast with his power to immobilize the living and moving, suggest the age of machines shall be his greatest achievement, apart from being the beloved of Charis, grace's notable that the rise of the industrial revolution saw also the nostalgia for pure uncorrupted Arcadia resurgent in the arts of the day, a theme that continues to this day...the legacy of Vulcan running out of control, and the rise of Masonic soceities running in tandem with systematic amoral industrialization and materialism.

In the painting the figure in blues hand picks out the first two letters of Arcadia, AR, whilst the figure in red does this in reverse, thus RA (thus 1:18 or 18:1 in numeric terms, a doubling of the 9:1 ratio, but also the follow on to the 17th of the 1st which was the day in the tomb, following the last supper on the 15th), and quite simply these can be seen as the Aramaic term for 'high' which is Ar, or Ra the Sun God of Egypt...Ar-cadia meant high-fall, if cadia is related to the verb to fall, 'cadere'....but with grace on one's side anything is possible.

The conclusion has to be that refugees from some ancient cataclysm upon a planet to be associated with Vulcan, somehow arrived within the inner solar system, upon Earth( hence angels needing wings), to dwell within Arcadia as it were, amongst the wild simpletons. The bible uses the formula seven times (0f 360 days or years) at 2,520 days or years as a period of punishment, yet this is essentialy also the formula for working out the distance of the asteroid belt (7 x 36 million miles), and the distance to the asteroid belt from Earth of 162 million miles is a key number also within the Israel Schemata. The planet need not neccesarily have exploded as such, there is no known model for what would happen say if a planet recieved a hit from a meteorite large enough to damage it's structural integrity beyond repair, it could collpase and fracture relatively slowly, the fatal occurance could even have been from within, possibly even from war upon the surface given the Vulcan reputation for producing powerful weaponary. Neither need a cataclysmic event at such a distance have affected Earth to any great extent, if the planet was to the other side of the sun, that would be 342 million miles from Earth, and given that Mercury is only 36 million miles away from the err exploding sun, the distance is significant. There is some evidence of moons of Jupiter having been affected by great heat , and possibly a great deal of the debris having been drawn into the Jovian system through the large gravitational forces present there.

If Vulcan was to rise up from within that suitibly large tomb in the picture, it would surely be upon a roaring black and chrome motercycle, each part of which he had hand crafted and knew the exact specifications of, his huge bulk of a body would be begrimed and oily from his labours, a great bear like figure (none of your monkey evolution antics on cold grim Vulcan...), yet covered in inticate artwork of the tatooist, his beard and hair wild long and uncared for, his relatively weak legs, one lame, nimbly working the peddles. Being an amoral hedonistic brute of pure reason, he would sieze long suffering Venus by the waist and plant a big slobbering kiss upon her pert and pretty lips, as for the rest of the Arcadian hippies, he would knock Mars out with a single blow from his fearsome fist, despatch Mercury to fetch the largest barrel of ale he could purchase and carry, whilst handing Earth an electric guitar and ordering him to stand upon the tomb and play 'death metal'.

Despite recent propoganda Vulcans don't change (lest Universal archetypes become endangered species...), they certainly don't meditate..!!! takes a certain sort of race to convert a planetary heimat into a free-floating stone circle, yet a peculiarly resourceful one to get from thither to hither. Whilst not changeable, certainly temperance through marriage and inter-breeding is noteworthy in Cupid being the son of Vulcan...i'm sure it will all work out.



Sail on silver wings
through this storm
what fortune love may bring
back to my arms again
the love of a former golden age.

I am disabled by fears concerning which course to take.
For, now that wheels are turning,
I find my faith deserting me...

This night is filled with cries of
dispossesed children in search of Paradise.
A sign of unresolve that,
envisioned, drives the pinwheel on-and-on.

I am disabled by fears concerning which course to take.
When memory bears witness to
the innocence, consumed in dying rage!

The way lies through our love;
there can be no other means to the end,
or keys to my heart...
you will never find.

You will never find!

(In Power we entrust the love advocated/Dead can Dance.)