Archeoastronomy

"Abstract

Calendars in the Book of Esther: Purim, Festivals, Cosmology

This paper suggests that Esther added an extra month and a day to the king’s
calendar to thwart the date chosen by Haman for the annihilation of the Jews. The result was that the Jews in the provinces were preparing and celebrating Passover when the Jews of Sushan, who had the benefit of additional time, were fighting then feasting. Esther’s
intervention is related to Babylonian apotropaic calendar manipulation and the text indicates how a 354-day lunar calendar and a 360-day calendar might work. The analysis includes dates for Shavuot followed by different groups in Second Temple Judaism, one of which is reflected in a 364-day calendar scheme that is also attested at Qumran.
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This paper deals with the phenomenon of Archeoastronomy present at different locations and different cultures around the world. The three historical structures present in this paper show how was Archeoastronomy applied and how it was used in ancient times.

L'observation des lieux sacrés partout sur la planète (mégalithes, monuments, ouvrages de terre, lieux de cérémonie) révèle qu'ils ne sont pas situés au hasard, mais sur des lignes géométriques précises. La Terre est tissée d'un réseau de ces lignes qui sont les manifestations physiques de flux énergétiques. Ils sont organisés en plusieurs grilles superposées et connectées, qui couvrent la terre de leur maillage aux caractéristiques précises. Les nœuds de ces réseaux présentent des énergies telluriques et cosmiques particulières qui en ont fait des centres de rayonnement religieux, philosophique et artistique des civilisations anciennes. Sur certains édifices, on a relevé des indices qui indiquent qu'ils ont été bâtis par une civilisation techniquement et spirituellement très avancée. Les sites sacrés avaient des fonctions de régulation énergétique des flux et d'élévation de la conscience. Après un long sommeil, la grille est actuellement réactivée progressivement jusqu'à sa pleine puissance en 2012. Ce processus entraine des bouleversements terrestres et des modifications dans nos consciences. Nos corps sont progressivement reconnectés à la grille et sont également touchés. Tout cela a un sens précis: nous sommes invités à devenir pleinement responsables de notre vie et à créer un nouveau monde en harmonie avec la Terre.

Built well over 3,000 years ago (c. 1380 BCE), the Eugal (Sum. é.u.gal) ziggurat at Dūr-Kurigalzu in southern Iraq still dominates the landscape.  Although in a heavily deteriorated state, the original ziggurat, along with modern reconstruction efforts and other buildings unearthed during archaeological excavations at Dūr-Kurigalzu can be viewed using satellite imagery from Google Earth. This work explores possible celestial orientations for various points of the ziggurat, as well as possible sunlight and shadow scenarios pertaining to Mesopotamian justice and/or divination.

Coricancha (Qurikancha, Qorikancha) was the most important temple in Cuzco, the capital of Tawantinsuyu, the Inca Empire. The Spanish Conquistadores had the opportunity to see her, and her legendary richness, in November 1533, after entering Cuzco. Coricancha was the place to worship the most sacred effigies of the Inca cult, including the figure of the Sun, called Punchao. From this early period, there are also references, unfortunately not very precise, related to a specific orientation of some elements of the temple providing reflection of the rising (or setting) sun on the aforementioned figure of Punchao. Based on these sources, and the analysis of the remains of the original Inca Coricancha, a number of hypotheses regarding the possible astronomical function of this temple were formulated. Of particular importance was the hypothesis of Zuidema and Aveni, according to which astronomical observations at Coricancha constituted the structural skeleton of a specific Inca calendar c...

The purpose of this study is to evaluate whether the choice of the axis directions of the early Christian and medieval churches of Rome was determined by random reasons only or, instead, by the intention of obtaining a specific direction, as the studies related to the churches of this period, in other geographical contexts, seem to indicate. A first phase of the survey consisted in compiling a list of all the churches still existing in Rome and built between the beginning of the 4th century and the end of the 13th century. Our research produced a total of 92 churches: geographic coordinates and azimuth were measured using satellite images from Google Earth. In cases where the original arrangement of the parts was not evident, inspections in situ and checks from the plants reported in the literature concerning the considered church were carried out. From this analysis, two distinct distributions of the azimuth of the ancient churches of Rome are clearly distinguished: one with azimuth from 30° to 150°, the other from 210° to 360°. Seven churches only, which is the 8% of the population, have in fact an azimuth value consistent with the meridian. Furthermore, statistically significant peaks are observed around 90°, 120°, 240°, 270°, which are directions with an evident astronomical significance. Obviously, the existence of two populations with a substantially opposite orientation, suggested by the statistics, must find its justification in hypotheses based on other objective elements: the first hypothesis that can be advanced is a paradigm shift with the passing of the centuries. Wanting to verify if this hypothesis has a foundation, the considered churches were analyzed by subdividing them by century of construction. From this analysis, it is clear that in the construction of the oldest churches the most established tendency is to orient the axis with the entrance towards East and the apse towards West, even if the opposite orientation is noticeably frequent. In the following centuries there is a settling phase in which all the orientations have more or less the same importance. From the ninth century onwards the habit of orientating the buildings of worship 296 The orientation of the early Christian and medieval churches of Rome with the apse towards East and the entrance towards West was definitively affirmed. This work will present the possible historical motivations of this evolution.

La Teoría JLPER, un engranaje multidisciplinar. La Teoría JLPER (acrónimo de su autor Juan Luis de Pablo Enríquez Rohen), es una teoría numérica que vincula, con asombrosa perfección, las disciplinas de la música y la filosofía con aquellas de la astronomía y la arqueología. La Teoría JLPER comparte un orden estricto entre los tonos musicales, el orden existente astronómico y el pensamiento filosófico de nuestros antiguos mexicanos. Este orden de números y de notas es, en sí, un calendario solar, ya que la suma de todos sus simétricos elementos numéricos resulta en 365 unidades y estructuralmente corresponde con los solsticios y los equinoccios. Gracias a la Teoría JLPER, su autor logra descifrar, de una manera innovadora, el lenguaje de los antiguos mexicanos desde una proporcionada estética matemático-musical; también ha encontrado que existe una secuencia característica en los elementos del cosmos, con la cual se podrá localizar con mucho más éxito y rapidez la presencia de planetas alrededor de las estrellas de la Galaxia y corroborar que este conocimiento planetario ya era vigente en la antigua Tenochtitlán. Los resultados sonoros de la Teoría JLPER coinciden con varias grabaciones sobre los planetas que ha hecho la NASA a través de sus radio-telescopios. Así mismo, el resultado numérico de la teoría JLPER coincide con la arquitectura de las más importantes ciudades prehispánicas. Con más de quince años estudiando el calendario solar y cívico de los antiguos mexicanos y los conceptos matemáticos y filosóficos que este pensamiento sugiere, el autor de la teoría JLPER, ha logrado establecer un vínculo entre razonamientos palpables y lógicos, como lo son los números, las doce distintas notas musicales, la secuencia de elementos del Sistema Solar y los 7 tipos en espectro de estrellas con la estética arquitectónica y labrados de las culturas Maya y Azteca. Como resultado, el autor de este estudio ha podido decantar todo este pensamiento lógico en más de cien obras de arte literario y musical basadas racional y emocionalmente en esta muy interesante teoría: la Teoría JLPER. Con un respaldo teórico-musical de casi treinta años de estudio, dos licenciaturas y una maestría en composición musical, las composiciones musicales detrás de la teoría JLPER son en su mayoría de corte académico musical y se encuentran organizadas en una notable cantidad de dotaciones y distintos ensamblajes. Por ahora, el teórico y compositor mexicano Juan Luis de Pablo Enríquez Rohen se encuentra en el proceso de publicar su Teoría JLPER y los notables descubrimientos que ha proporcionado este magnífico estudio, el cual está por cumplir casi dos décadas de incesante investigación sobre el concepto antiguo de 'la armonía de las esferas'.

For nearly a century there is an ongoing debate about, have the ancient Egyptians known any case of the Pythagorean Theorem and that the triangle 3-4-5 is right-angled? According to the opinions of most scholars, there is no written evidence regarding this dispute. Hence, this paper shows the written evidence in a problem on land survey in the so-called Rhind Mathematical Papyrus-RMP of circa 1550BC, which has been separated by the early scholars into two problems: RMP#53 and RMP#54. The paper shows that RMP#53-54 is one problem on reckoning the dimensions of a triangular plot of land with sides 6-8-10 and its sections, where the triangle's height is a radius of a circular horizon that increases by adding one-tenth of the triangle's hypotenuse. Besides, it shows that the reckonings of RMP#55 are based on the same triangle sketch of RMP#53-54. The paper proves that the ancient Egyptians knew this triangle almost thousand years before the days of Pythagoras. The paper also shows that the ancient Egyptians did not only use the unit fractions but have also used complex fractions.

This paper focuses on the predominating east-west orientation of Iron Age graves (5 th century BC to the 13 th century AD) and the reasons that could have caused the custom. Based on the data of Baltic mythology and their reflections in folklore, the authors argue that the mythological conception of grave orientation is closely related to the mythological path of the Sun and the image of souls leaving the world of the living. Given the astronomical opposition of the Sun and the Moon, the hypothesis is justified by the fact that, when the graves of men and of women in the Baltic burial grounds adhering to the east-west axis, were oriented in opposite directions, the burial customs could have been affected by the mythological images of the heavenly family: the Sun (wife) and the Moon (husband). The search for symbolic meanings in archaeology is an attractive but challenging task. A theoretical possibility of research, cognitive archaeology in our case, requires special thoroughness and attention. When seeking harmony between the archaeological finds and the mythological images, a number of difficult questions have to be answered; it is necessary to renounce any preconceived ideas and to substantiate research assumptions and hypotheses in a consistent manner, by providing substantial arguments. The orientation of grave pits and the bodies of the dead is a part of the burial rite, an expression of mythological images. However, hitherto existing attempts of archaeologists to explain why a grave is oriented toward one or another cardinal point have not fully exhausted the opportunities of research on ancient religion and society. At the choice of researchers, contemporary scientific knowledge of the universe has frequently been unjustifiably transferred to prehistoric times, e.g., cosmological images that have a religious meaning have frequently been considered to be the expression of ancient astronomical achievements (Jovaiša 2002: 13). The authors of this paper are offering an opportunity to study the directions of the burial of the dead from the viewpoint of mythology instead of that of astronomy.

Coricancha (Qurikancha, Qorikancha) was the most important temple in Cuzco, the capital of Tawantinsuyu, the Inca Empire. The Spanish Conquistadores had the opportunity to see her, and her legendary richness, in November 1533, after entering Cuzco. Coricancha was the place to worship the most sacred effigies of the Inca cult, including the figure of the Sun, called Punchao. From this early period, there are also references, unfortunately not very precise, related to a specific orientation of some elements of the temple providing reflection of the rising (or setting) sun on the aforementioned figure of Punchao. Based on these sources, and the analysis of the remains of the original Inca Coricancha, a number of hypotheses regarding the possible astronomical function of this temple were formulated. Of particular importance was the hypothesis of Zuidema and Aveni, according to which astronomical observations at Coricancha constituted the structural skeleton of a specific Inca calendar cycle of 328 days. This article presents a critical analysis of this hypothesis, based on long-term research and measurements carried out in the Coricancha by the authors of the text.

This study applies phylogenetic software to motifs connected with the Pleiades as identified in Yuri Berezkin’s database, The Analytical Catalogue of World Mythology and Folklore. The aim of analysis is to determine which, if any, of the analysed motifs are likely to have spread in conjunction with the earliest migrations out of Africa and to the Americas. The Pleiades analysis is compared to an analysis of Orion motifs.

En este trabajo se presentan una serie de correspondencias entre la ubicación del altar y del laberinto, en la planta de Chartres, y los puntos correspondientes a los solsticios de invierno y de verano en el Hemisferio Norte. Dichas correspondencias surgen al relacionar el altar y el laberinto con la vidriera del Zodíaco. Dada la enorme influencia que los escritos de los neoplatónicos latinos ejercieron sobre los pensadores de la Escuela de Chartres, se ensaya una hipótesis que intenta explicar estas correspondencias a partir de las ideas expuestas por Macrobio en sus Comentarios al Sueño de Escipión.

In this paper a series of correspondences between the location of the altar and the labyrinth in the floor of Chartres, and the winter and summer solstice points are presented. These correspondences arise when the altar and the labyrinth are related to the window of the Zodiac. The Latin Platonism has exerted an enormous influence on the philosophers of the School of Chartres. Therefore, a hypothesis to explain these correspondences from the Macrobio´s Comments to the Dream of Scipio is proposed.

The Eye of Horus has three basic  symbolisms embedded:
I) Mathematical and Astronomical
II) Psychological, reffering to brain functions of the right and left hemispheres with a "crossing" with the "solar" and "lunar" eyes.
III) Spiritual, reffering to a holy vision of Unity as a combination of both.

In this paper we revise these symbolisms with the aid of comparative religion and archetypal symbolism.

Los relatos mitológicos de muchas civilizaciones se crearon, en gran medida, para explicar los fenómenos naturales (atmosféricos, meteorológicos, orográficos, etc.). Para la lucha mantenida entre Ra, el Sol, y la serpiente Apofis se ha sugerido la ocultación de la luz solar mediante tormentas, nubarrones o eclipses. No obstante, a tenor de ciertos pasajes del Libro de los Muertos, y a tenor del rumbo serpenteante trazado por el Sol durante el movimiento latitudinal, se sugiere en este trabajo que este combate refleje la referida oscilación, con su punto culminante en el Solsticio de Invierno, momento en que el calendario ideal egipcio conmemoraba la victoria de Ra, el Sol, sobre sus enemigos.

The myths of many civilizations were generally created to explain natural phenomena (atmospheric, meteorological, orographic, etc.). It has been suggested that the battle between Re, the Sun, and the snake Apophis would be representing the hiding of sunlight by storms, clouds or eclipses. However, according to certain passages of the Book of the Dead, and the winding course traced by the Sun during the latitudinal movement, in this work we will try to identify this combat with the aforementioned oscillation, ands its climax at the Winter Solstice, when the ideal egyptian calendar commemorates the victory of Ra, the Sun, over his enemies.

Complete view and Download at https://templa.online/vol-1/
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Marzabotto, Banzi, Rome, Este. An unprecedented prospect of research links Italy of Rome to unsuspected and less known places, in search of one of the most guarded secrets of history: the augural rite of foundation of etruscan and latin cities. The starting point is the unveiling of the hidden design of the urban form of the Etruscan city of Marzabotto (Kailua) and its analogy with the cosmological foundation of the three descending cosmic levels: the celestial, the terrestrial and the inferior. To these dimensions, and to the relative transcendent entities, the augury of foundation is directed, whose goal is the reunification of the three temples in one great templum. The sequence of ritual acts is then a sort of inverted cosmogony, where the very act of birth has violently divided back to the primordial unity. The liturgy of the foundation rite would thus continue to express in itself the evocative and dramaturgical power of the sacrifice of the cosmogonic myths of the origins, as a ritual re-enactment of the violent act of death and rebirth which arises at the beginning of time and at the origin of every new spatial order. The perpetuation of this act takes place therefore in the dimension of Time, where it is the expression of a Sacred Space whose essence is inherent in the continuous rotation of the celestial bodies around a center, or axis, which identifies its origin and the beginning. Both dimensions thus reveal their sacred value in the geometry of the eternal movement of the stars, in the numbers and in the relationships that distinguish the rhythms and phases: first of all the one related to the design of the Sun's motions - the Solar Templum - expressed by arithmogeometric figure that describes the main annual stations of rising and sunset on the local horizon of the observer. The geometry of the solar Templum of the place, as a union of the three temples, indicates the figure that identifies the spatial directions and the temporal instants within which the miracle of the "Communion of the Worlds" occurs, a communion whose liturgical action is admirably expressed in the very act of contemplatio.

Symbolic representations of the scorpion are attested in Mesopotamia since the Neolithic Period on several artifacts, such as pottery, cylinder seals and stele. From the 6 th to the 1 st millennium BC a constant connection of this symbol with the fertility and its related goddesses-such as Ishkhara and Ishtar-, all identified with Venus, is attested. Furthermore, in the first known religious cuneiform texts, e.g. the Poem of Gilgamesh, the scorpion presents celestial attributes as well as in the later astronomical compendia it is clearly associated with the actual Scorpio constellation. Thanks to the analysis of both iconographical and philological sources dated from the Neolithic to the Iron Age, this paper aims to analyse the persistence of the symbol of the scorpion and its meaning in the Mesopotamian culture and religion, identifying the particular characteristic inherited by the Classical Age.

People have had the moon’s number for a very long time. We figure the moon’s phases were counted by calendar priests in ancient Egypt and Mesopotamia at least 5000 years ago, and the unwritten record of prehistoric megaliths and symbolic carvings on monumental stones
has prompted some to speculate the builders of Stonehenge in southern England and Newgrange in Ireland also numbered the moon’s days. In fact, the late Alexander Marshack identifi ed “time-factored
notations” from the upper paleolithic in fragments of antler and bone. In The Roots of Civilization (1972), he argued these sequences of marks indicate lunar talllies. In 1982, American anthropologist W. Breen
Murray reported a large petroglyph panel at Presa de la Mula, in northeast Mexico, and interpreted its 24-cell grid of 207 “tally” marks as a count of seven cycles of the moon. The age of the carvings is
unknown, but through style they are associated with nomadic Archaic hunters and could be hundreds, if not thousands, of years old. Murray also analyzed tine counts of antler petroglyphs in the same desert
basins of northern Mexico and found they routinely exceed the number encountered on real antlers. Lunar numbers—7, 14, 15, 28—are common, but Murray speculated the month counts could reference
more than the moon and have something to do with biological cycles of the game.

In this issue, naturalist Bernie Taylor returns to the Griffiffith  Observer and explores detailed connections between lunar counts among traditional peoples and animal behavior. He last appeared in the August, 2006, issue with his 2005 Boeing writing contest article “Are There Geese on Cygnus 3?” He has written two books and hundreds of articles. In Biological Time (2004), he examined the relationship between the rhythms of plants and animals and the cyclical performances of the sun and moon. His work has generated high interest at biological conferences. Fish and game biologists are using his hypotheses to study and manage natural resources. Mr. Taylor has also spotlighted and analyzed archaeological evidence that suggests our ancient and prehistoric ancestors also understood the world and managed their access to its resources in terms of time measured and marked by the sun and the moon.

Abstract (English)
The calendar of sun from Wolfsgruben and Lichtenstern
Archaeoastronomic guide to important prehistoric sites from Ritten in South Tyrol, Italy
Time fixing through archaic sun observation
Chapter 1: Overview of the most important archaeological sites of the region on the Ritten in South Tyrol using pictures to demonstrate their significance. The activities of various archaeologists are described and first references to archaeoastronomy are explained.
Chapter 2: Information about the basic astronomic knowledge such as definitions and correlations which are required to understand the documentation. The chapter is about the astronomy of the horizon and shows the importance and use of a gnomon.
Chapter 3 deals with the main cult lines – also called cult axes – (religious worship), in particular those cult lines of the great Menhir in Wolfsgruben.
Chapter 4 is about measurements and simulations carried out by suitable software and specific measuring instruments. Particular emphasis is put on the geographic information system for archaeological objects - such as Menhirs - which has been developed for the research of the Megalith equipment on the Ritten. Digital maps and a GPS based system for routing allow the issue of geographically referenced maps with measuring points.
Chapter 5 gives a summary of observations and measurements of sunrises in various archaeological discovery places on the Ritten, as well as their astronomic and archaeoastronomic correlation of the sunrises in spring and autumn from this prehistoric settlement.
Chapter 6 shows the calendar equipment and burial mound in Wolfsgruben. Modern geophysical prospecting methods and an aerial picture analysis give reason for the assumption that important archaeological finds can be made if the astronomic relations are taken into account.
Chapter 7 shows other Menhirs between Wolfsgruben and Lichtenstern and near the location Klobenstein, in Italian Collalbo.
Chapter 8 describes the excursion to an important megalith symposium in Switzerland in 2006.
Chapter 9 describes the comparison of the deep notch with other holes in the rock.
Chapter 10: Special thanks for the support.
Annex:
- Astronomic tables and coordinates of measuring objects
- Most important issues of Creative Commons – Open Access Systems
- List of references and internet addresses
- Biography of the author
The documentation is supposed to draw the attention of people who are familiar with the place and interested in early astronomy to this Menhir equipment on the Ritten in South Tyrol. For checking the statements given in this documentation no mathematic, astronomic or archaeological knowledge is required, just a good power of observation and favourable weather conditions.
This research was initiated by hints of an archaeologist, saying that prehistoric settlements and burnt sacrifice places can be found at the locality Wolfsgruben as well as Lichtenstern - in Italian Costalovara and Stella - on the mountain Ritten – in Italian Renon - in South Tyrol, which could be used astronomically. At those places Menhirs are positioned in a way that they are astronomically aligned in accordance with the equinox.
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Based on these indications and by means of GPS software and exact digital maps it was assumed that the landscape formation was suitable for precise astronomic observations of sunrises in a deep notch at the horizon at a distance of 10.9 km. Even today such sunrises can be observed and photographed at certain times from various prehistoric settlements (appr. 3400 – 15 B.C.), however, with a calendar difference of 7 or 12 days to today’s equinoxes. The pictures were taken symmetrically to the spring and autumn equinox. This calendar difference is due to the changed inclination of the axis of the Earth within the last few millenniums. If some trees near the prehistoric settlements “Roarer Windspiel” were removed the rising sun could even now illuminate a big central Menhir for some moments.
The archeaostronomic examination was intensify after have found an images of sunrise in an book of the locality Ritten from Inga Hosp 2 and after the archeologist Mag. Werner Holzner 3 have publish in an first draft an interpretation archaeological of the Menhir equipment in Wolfsgruben.
Picture A: The sun “sitting firm” - almost strangulated - between the peaks of the Mount Santner (left) and the Mount Euringer (right) view from the Ritten.
Picture B: View at sunrise between the peaks of the Mount Santner and the Mount Euringer on 2012-04-01 and at time 07:27 AM CEST (Central European Summer Time) from the prehistoric sites named „Roarer Windspiel“, exact bearing line from the great Menhir ME01 in the deep notch on the horizon.
This picture A in the book from Inga Hosp: “Ritten – Landscape and people on the mountain” was the capital event for further research of archaeoastronomy on the Ritten. After 8 long years to continuous sunrise observation can it prove that in Wolfsgruben and Lichtenstern on the Ritten wars two very important prehistoric sun observation locations. The people of that time know this location for astronomical observation and precise time fixing because the natural horizon is qualified for the course of year. This particular observation points was known the local Shamans in the Stone Age. I have reasons to believe, that further Shamans outside the political frontier of South Tyrol was known of this observation points.
When several trees cat down in the near of the prehistoric location “Roarer Windspiel”, then the sun rising in the deep notch in the rocks on the horizon can every today shine for a little moment on to the big Menhir ME01.
The sight of this sunrise in a deep and narrow notch at the horizon is comparable to a well-known sun phenomenon at Elm in Switzerland where twice a year, and always at the same time, the sun shines through a big hole in the rock face throwing a beam of light on a church.
2 Inga Hosp: Ritten – Land und Leute am Berg, Tappeiner Verlag, Lana (BZ), 2005, S. 142-143
„Festsitzende Sonne zwischen Santner- und Euringerspitze“.
3 Werner Holzner: (Archäologische) Interpretation der Megalithischen Anlage am „Roarer Windspiel“ in Wolfsgruben am Ritten (Südtirol, Italien). Rev. 18.01.2004, noch nicht veröffentlicht.
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By means of aerial photo archaeology some elliptic masonry was found in the ground which is astronomically aligned and is interpreted as a rhetian burial mound. If archaeologists kept in mind the astronomical orientation they could certainly make archaeological discoveries in this unplundered mound.
Although local archaeologists have been informed about this new interpretation they cannot fully evaluate this Menhir site with the great Menhir due to missing astronomical knowledge.
Studies and own measurements by means of a gnomon have been carried out. These measurements in addition to the observations of the horizon are necessary because the exact day of the summer solstice and the winter solstice cannot be gathered from the formation on the horizon merely by visual inspection.
Picture C: Sunrise simulation on the horizon from Mount Schern.
The possible positions of sunrise are calculated, observed and photographed in the tables A and B in the annex for different prehistoric sites and points of views today from Ritten.
The archaeoastronomical literature as well corresponding internet addresses have been exactly analysed. The astronomy of the horizon is applicable on various prehistoric places on the Ritten. From three prehistoric settlement sites you can track the complete pendulum arc of the sun from sunrise at summer solstice via equinox up to sunrise at winter solstice.
This Stone Age observatory is unique due to its position, size and accuracy with its landscape setting in the alpine region and it is of great significance for the history of astronomy. Further research work by various natural scientists on university level would therefore be reasonable. The great Menhir and the prehistoric settlement sites “Roarer Windspiel” were a Stone Age center. Therefore the great Menhir – which has two big circles graved on - should be declared a Cultural Heritage Site.
Coordinates of the important prehistoric sites from the Ritten in South Tyrol, Italy:
Prehistoric site Wallnereck by Lichtenstern:
WGS84, N 46° 31' 40,7'', E 11° 26' 12,4'', height = 1298 m
The great Menhir ME01 with the prehistoric site “Roarer Windspiel” in Wolfsgruben:
WGS84, N 46° 31' 18.9'', E 11° 25' 47.5'', height = 1240 m.
Prehistoric site Piperbühel by Klobenstein – in Italian Collalbo:
WGS84, N 46° 31' 58.1'', E 11° 27' 40.4'', height = 1134 m

The Westcar Papyrus is an ancient Egyptian papyrus thought to date to the Hyksos period (circa 18th to 16th century BCE). The collection of stories centres around the IVth Dynasty Pharaoh Khufu (aka Cheops) and a series of wonders or acts of magic performed by various priests. The stories have been given the title “King Cheops and the magicians”. In this paper, I review the stories within the Westcar Papyrus and seek to:
Establish that the stories are using elements of mythological storytelling to convey astronomical data;
Offer a new understanding of what Khufu seeks for his horizon or Pyramid through a new translation of a critical phrase within the story of Djedi; and
Establish a timeframe based on the astronomical data encoded within the stories that has been interpreted to date.

SUMMARY (ENGLISH)
Waszlavik László:
THE RAPHAEL'S CODE SYSTEM
Hidden Madonna-legends in Raphael's works
The history of astromithological and tarot-based representation of Mary

As a result of several years of intensive research, an interesting painting cryptographic technique  has been discovered in Western Europe. It can be identified in almost unchanged form from the middle of the seventh century to almost present day. The discovery of the method used by Raphael was the result of the discovery of the coding system of a Hungarian painter Csontváry. The research in this regard was finalized  for the 2019 Csontváry centenary, when, in addition to describing an eight-point aggregated astral mythical code system, we were able to identify "secret" stories, including imprints of complete literary works - they are discovered  in dozens of pictures by the painter.
Researching the history of the method, suspicions were raised about Philipp Otto Runge, the founding theorist of German romantic painting, he intensively used five or six points of the eight-point Csontváry code. In addition to the "wraparound zodiac" present  in Csontváry's works, in Runge's  works the seven-planet system is also detected in almost every image. The system is presented in such a way that each planet fell strictly in line with the planet's exil and domicil zodiac signs.  Actually, this is a hidden line system, which "supports" the stories "masked" in his paintings. The same "exil-domicil" system was identified with Raphael, who used the exil-domicil axis in his  Madonna's paintings to display the  Christogram of Constantine the Great (we also identified this  secret Christogram with Csontváry). The earliest display of this "EDM" (EDM=exil-domicil  and monogram) system, also used by Raphael,  can be found on the "Encaustic Virgin" of St. Catherine's Monastery in Sinai, as well as later on the Madonna depiction of the Book of Kells. This system is present in the Italo-Byzantine style, the Proto-Renaissance and the Renaissance (this is also discussed in the book).
Half of the ten discussed Madonna paintings by Raphael also contain secret stories. Three of them tell the story of the legend of Mary in Italy (Legend of the Loretto, Legend of the  Madonna della Madia, Legend of foundation of Francavilla), and one is telling the story of the Old St. Peter's Basilica in Rome. Raphael's very last painting (Transfiguration) and his self-portrait are also created  in  "EDM-system".
The book also brings some  examples of EDM from the Renaissance till the present day (Rubens, Rembrandt, Menyhért Tóth). It also covers the parallel, tarot-symbolic Heschyan-Byzantine system of Madonna depictions. This is believed to be Egyptian-Coptic and may branch out from the Astro-mythological EDM line at the Sinai Monastery.
From the comparison of coding systems, it can be seen that Runge and Csontváry can be considered as the modern developers of the EDM system. The basis of all such secret coding is a symbolic alphabet (Triple Circle of Animals) described by the Hungarian astro-mythological school in the mid-1980s. This alphabet is rigidly converging the Mediterranean and Chinese Zodiac and the Chinese 28-element Lunar Mansion cycle.
This alphabet and its dialects has been identified in all genres of folk-sacral culture. It can be traced throughout the steppe from China to the Black Sea, from where it has shifted to Western Europe - the method of Western coding is therefore based upon this . Of particular value is Raphael's use of EDM, who may have been the first to hide complete stories in his works.
Traslation by Antal Dezső
Author - gwaszlavik@gmail.com

Esta obra indaga la línea de convergencia entre el mapamundi Martellus de 1489, que se encuentra en la Biblioteca Británica de Londres, con el de 1491, ubicado en la Biblioteca Beinecke, de la Universidad de Yale, a la luz de los antecedentes de la Escuela Argentina de Protocartografía (Enrique de Gandía, Dick Edgar Ibarra Grasso y Paul Gallez). Dicha escuela percibe a la cuarta península representada en Asia, en estos mapamundis, como el subcontinente americano unido a China  -la “Cola del Dragón”- y sólo separado de Indochina por el llamado Sinus Magnus. Haciendo un cuidadoso análisis de las imágenes disponibles del "Martellus de Yale" -que poseen gran calidad visual- hemos encontrado seres mitológicos, animales y vegetales que podrían haber pasado desapercibidos, siendo desconsiderados en la comprensión integral del mapamundi sin que hasta ahora se les atribuyera un sentido, o una relación con la representación cartográfica interior, en especial con la llamada “cuarta península asiática”, que como veremos, pone al "Jardín del Edén" en el sur de América.
This work exposes the possible convergence between the Martellus World Map of 1489, located in the British Library, and the Yale Martellus world map of 1491, in line with the publications of the Argentine School of Proto-Cartography (Enrique de Gandia-Dick Edgar Ibarra Grasso and Paul Gallez). This school identifies the fourth peninsula, the "dragon's tail", represented in Asia as South America, and the so-called Sinus Magnus as the Pacific Ocean. Paul Gallez reveals  the great network of South American rivers and lakes, found on Martellus map 1489. In this case we will try to show if the suggestions of Gallez of his book "The Dragon's Tail" (referred to London Martellus of 1489) could be complemented with information of the Yale Martellus, of 1491, mainly by references to South America identified like "Terrestrial Paradise" by a remarkable alchemical and astrographic symbolism. We will find hidden images of humans, animals, fruits, spices and mythological beings on the Martellus map of Yale, which in this context have a strong connection with cartographic representation (especially the fourth Asian peninsula), locating the "Garden of Eden" in the east of India.

Andrew Collins*
Summary: We explore the role of Orion in the human mindset, from its first appearance in the carved art
of the Upper Palaeolithic age through to its place in the Orion Correlation Theory. This includes its role
in the re-dating of the Great Sphinx and fixing the date for Zep Tepi, the age of the gods in ancient Egypt.
We examine also the stellar significance of the Great Pyramid’s four air shafts, and whether it is the
“belt” stars of Orion or the “wing” stars of Cygnus that better match the geographical positioning of the
Giza Pyramids. Finally, we look at the dual role Orion and Cygnus played both in ancient Egypt, and
within the afterlife cosmology of North America’s Southeastern Ceremonial Complex (SECC).
Key words: Orion, Upper Palaeolithic, Ach Valley, Nabta Playa, Orion Correlation Theory, Great
Pyramid, air shafts, Pole Star, zep tepi, precession, Great Sphinx, age of Leo, Cygnus, Winding
Waterway, Milky Way, Southeast Ceremonial Complex, Path of Souls
* Andrew Collins is a writer and historian. Contact him by email via www.andrewcollins.com

The Mezora cromlech, located in northern Morocco, has been the object of
our studies for the last three years. It concerns an excavated site studied for almost two
centuries in the traditional Archaeology manner. A series of expeditions which took
place mention this site since 1829. It was excavated several times, sometimes in the
midst of complicated war-political events, and almost always without the appropriate
archaeological elements or the idea of landscape/cultural archaeology or
Archaeoastronomy.
Throughout our work and studies, we have come researched by means of abundant
bibliography in this regard, and our studies and opinions coincide with the ideas of one
of the most prolific writers about Mezora, Enrique Gonzalbes Gravioto. Gravioto
believes that in recent years there have been no new studies, and that there are no
complete studies based on history, sociology and geomorphology.
Our intention is to carry out a multidisciplinary study of the megalithic group, in all
aspects that made it functional throughout its history. Not only we will carry out a
thorough study of the existing bibliography but our work will expose the first result of
our campaign to the North of Morocco, in order to place Mezora geographically,
sociologically and historically in the set of Mediterranean megalithic monuments. We
will present our observations virtually at the Third International Symposium of
Megalithic Monuments and cults in Blagoevgrad, in September 2020.
The first part of our studies leads us to the presentation of a work concerning various
Archaeo-Astronomy aspects of the set. Our current work will try to make sense of the
succession of functions with which the people of the area used it: Burial site, temple
for solar worship, and the possibilities of its use in the form of other sacred aspects,
meeting point, mark of political boundaries and finally part of the prehistoric social
mobility and commerce system in North Africa.
We took a bibliographic tour starting from the first time the site was mentioned by the
Roman writers Plutarch and Tanusio Gemino, due to the description of the site by the
Roman general Sertorio (year 81 BC) in the context of civil wars and mentions of the
Mauritanian King Iuba II. We will see the location of the site in the Peutigerian Tabula
and how its privileged location leads to the conclusion that not only does an ancient
tomb exist but the complete set exists as well. We will explore the subsequent silence
in the writings of Pliny and Solino and of the medieval travellers and arrive to the final
explorations.
Finally we will take a field research of the site surroundings and old known routes in
order to understand and discover new architectural and functional relationships, in this
exciting archaeological and cult site of North Africa.

The Torreón is one of the most emblematic buildings of Machu Picchu. Since 1929, different archaeoastronomical studies have been carried out on this building to verify its function as an astronomical observatory. The authors of the present text analyse in detail these hypotheses using a thorough survey of the structure created from 3D scans and digitised models. The analysis concludes that we can take as established evidence that the builders of the tower designed it according to some solar orientations, but without the purpose of erecting an astronomical observatory as was apparent in the cases of Intimachay and Inkaraqay.

The Indo-aryans of ancient India  observed  stars and constellations for ascertaining auspicious times in order to conduct  sacrificial rites ordained by  vedas. It is but natural that they would have recounted in the vedic texts about comets. In Rigveda ($\sim $ 1700 - 1500 BC) and Atharvaveda ($\sim $ 1150 BC), there are references to dhumaketus and ketus, which stand for comets in Sanskrit.  Rigveda mentions a fig tree with roots held up in the sky (Parpola 2009, 2010). Could it have been inspired by the hirsute appearance of a comet's tail?  Similarly, could `Ketu' (the torso or the  tail part of Rahu) be a Dravidian loan word, since `kottu', an old Tamil word, is associated with  scorpion's sting and top tuft of hair?  Varahamihira in 550 AD and Ballal Sena ($\sim $ 1100 - 1200 AD) have described a large number of comets recorded by ancient seers such as Parashara, Vriddha Garga, Narada, Garga, etc. In this article, I conjecture that an episode narrated in  Mahabharata of a radiant king, Nahusha,  ruling the heavens, and later turning into a serpent after he had kicked the seer Agastya (also the star Canopus), is a mythological retelling of a cometary event.

Archeoastronomia: un'interpretazione astronomica del quadrato magico del Sator proposta alla luce dello splendido e recentissimo rinvenimento di Aosta. Nella chiesa dedicata a Sant'Orso, ad Aosta, è infatti venuto alla luce un grande mosaico, risalente al XII secolo, carico di significati simbolici e religiosi. La peculiarità della scritta, disposta in forma circolare, suggerisce una nuova e più convincente interpretazione del Sator.

The Mahabharata texts of India provide precise astronomical information that allows the reconstruction of dates according to planetary configurations and eclipses. In this paper we show how the date of April 20, 3105 BC best fits the description of planetary configurations for the time of the Mahabharata War, a most important event in the ancient history of India.

Native American myths, legends and oral traditions are rich with stories of giant beings existing in ancient times. They all talk of giant Thunderers or Thunder-beings, giant snakes and great Thunderbirds. Even the first humans were said to be giants, some half man, half animal. The Tsistsistas (Cheyenne) have a name for the giant beings that their ancestors encountered during the early migration to the grasslands of the Great Plains. They called them haztova hotoxceo or “two-faced star people”. Other Plains tribes such as the Black Feet, Gros Ventres and Lakota have similar stories.
These old stories may have real world counterparts. Discovered in a prehistoric effigy-mound group (the Kolterman Mounds) in south-eastern Wisconsin (U.S.A.) is a human-like petroform or lithic effigy with a serpentine body and wing-like arms known as the ‘Star-being’. Configured in stone, it is approximately 20 metres in length with a red coloured, bison-shaped headstone aligned to face the summer solstice sunrise. However, it is not a lone or singular occurrence. The ‘Star-being’ is but one of two human-like petroform effigies discovered in south-eastern Wisconsin. There is another of almost the same size called the Starman which also has a red coloured, bison-shaped headstone aligned to face the summer solstice sunrise. Both the Starman and Star-Being lithic complexes are codified by the State Historical Society of Wisconsin as archaeological sites of Archaic age.
Each giant lithic effigy appears to be a reflection of certain constellations and stars. The ‘Star-being’ is a mirror-image of the (western) constellations of Scorpius and Libra (with Sagittarius); the Starman is an almost exact representation of Taurus and the Pleiades. Both giant effigies are estimated to be 3500-6000 years old, embodiments of ancient legends and traditions writ large in stone and connected to ‘The People’ through ceremony and acts of cosmic renewal.