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1 The images are public domain because their copyright has expired.
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Introduction
From time to time a growing complexity may lead to a reorganization and balancing of
databases, in which some of the redundant details need be reduced. The manuscript will be
following the predecessor documents The Hermetic Codex, respectively The Sky-God
Dyaeus and The Celestial God.
The Hermetic Codex had been devoted to the androgynous, hermetic sky-God, which in its
earliest phases may have been designed as a male/female or alternatively as an
unpersonalized deity. The discovery of early and everlasting bipolar characteristics invited
me to research a general trend for bipolarity in historical context, which have been document
in a series of source documents2.
Initially bipolarity has been identified in the cups and pillars, in various burial rituals, positioning
the corpses in distinct directions according to their gender. Both the Kurgan period 3 and the "Corded
Ware culture"-period4 buried their women left sided and their men right sided as mirrored images,
both facing towards the east. Generally the buried bodies are located to face the dawn's position
and/or the sun. Facing the east and the south may refer to contacting the divine sun and the sun's
birth at dawn.
In a second phase the Indo-European language developed a bipolar god's name *Deiwos and a skygod's name *Dyeus and its derivatives Zeus, Dieu, Dios, Dio ..., in which the bipolarity may be
identified in the vowels Y or I, E, O and U. Dyaus may be considered as monotheistic in
the sense that the sky-god was the most powerful of all deities, degrading all other gods to adjutants
or powerful saints. In later eras, the attributes of this bipolar sky-god Dyaus had been used to
transform the former Hebrew God El to a bipolar YHVH5.
In various cultures the vowels seem to have been considered as sacred, hidden and unspoken
elements6. For their sacred symbolism the vowels may also have been preferred in the generation of
the Ego-pronouns7 in various languages, such as Provencal (iu), Italian (io), Wyclif's English
(Y) and many others. The generation of Ego-pronouns and divine names may have been
correlated in several languages, such as Provencal, in which the Ego-Pronoun iu has been
integrated in the divine name Diu.
In the Proto-Indo-European system all European ego-pronouns8 seem to have been designed as
vowel sequences. Existing consonants (such as j, ch, c and k) may have been transmuted
from the vowel i. Other trailing consonants (such as s) may have been appended in copying the
pronoun from the corresponding divine names9.
2
3
4
5
6
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In a third stage ancient religions often started from a bipolar deity, such as the Roman god Janus or
Dianus, which has been recorded as the predecessor of the most powerful Jupiter, who has been
identified as father and mother simultaneously10. From the beginning Roman history defined
purple and scarlet red as imperial symbols. In Jewish religion various religious leaders described
man's creation legend as a bipolar process, in which the first man had been created as an
androgynous creature as an image of the Creator God -, later to be split in a male and a female
individual11. A genuine creation legend for androgynous man has been documented in Plato's
Symposium. For their early temples the Greek and Roman architects preferred alternating red and
blue decorations. The colors red, blue and purple also have been listed as divine, biblical commands
for the temple's decorations and garments12.
In a fourth period of time both Julius Caesar and Tacitus compare the most important deity in
Germania to Mercury (Hermes). The Celtic creator god is named Dis by Julius Caesar, respectively
Tuisco by Tacitus.
In the Middle Age the emperors and kings preferred the colors red, blue and purple for their
garments, graves and flags. The most important medieval coronation mantles were red or blue, but
as a rule these have been used in a multicolored environment, dominated by red, blue and purple13.
Up till today red and blue have been identified as gender symbols, although the references for red &
blue seem to have been reversed in the 20 th century14. Even today the colors blue15 and yellow
are absent in Wikipedia's list of Liturgical colors16.
One of the last chapters discusses Charles W. Stewart's recent ideas towards the origin of the colors
used in the national flag of America17, claiming that:
"The flag may trace its ancestry back to Mount Sinai, whence the Lord gave to Moses the
Ten Commandments and the Book of the Law, which testify of God's will and man's duty;
and were deposited in the Ark of the Covenant within the Tabernacle, whose curtains were
blue, purple, scarlet, and fine-twined linen."
"Before the ark stood the table of shewbread, with its cloth of blue, scarlet and white. These
colors of the Hebrew Tabernacle were taken over by the early Western Church for its own
and given to all the nations of western Europe for their flags. When the United States chose
their flag it was of the colors of old, but new in arrangement and design, and they called it
"The Stars and Stripes."
In the sense of this book Bipolar Monotheism this unproven thesis may gain some more
substance. The definition Red for courage, zeal, and fervency; white for purity, cleanness of life
and rectitude of conduct; blue for loyalty, devotion, friendship, justice and truth maybe somewhat
arbitrary, but the basic idea is sound. In analogy to vowels, pronouns and other etymological
elements colors have always been religious symbols, which needs some pages and illustrations to be
understood. Let's start with the burial traditions in prehistoric eras to end up at the US-American
Stars and Stripes...
10
11
12
13
14
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Contents
Introduction..........................................................................................................................................2
Prehistoric Phase.................................................................................................................................11
20,000 BCE: Gagarino, Ukraine....................................................................................................11
Venus of Savignano...................................................................................................................12
5,000 BCE: The god IU or IAO in Egypt......................................................................................12
4,000 BCE: The Kurgan period.....................................................................................................12
3,500 BCE: The PIE-Concept........................................................................................................13
The basic formula......................................................................................................................14
3,000 BCE: The god in pre-cuneiform in Sumerian tablets..........................................................16
God in relation to the Assyrian first personal pronoun.............................................................16
The Biblical Phase..............................................................................................................................17
2,000 BCE: Abraham.....................................................................................................................17
1,700 BCE: Our SiuS.....................................................................................................................17
840 BCE: The Mesha-Stele...........................................................................................................18
~450 BCE: The Book Exodus........................................................................................................19
Translation for Exodus 28:5-6...................................................................................................19
Roman, Greek en Celtic Phases..........................................................................................................20
753 BCE: Romulus........................................................................................................................20
550 BCE: Zeus' Derivation from Ieus (?)......................................................................................20
500 BCE: The Celtic Grave at Hochdorf.......................................................................................21
490 BCE: The Athena-Aphaia Temple ........................................................................................23
380 BCE: Plato's Banquet (Symposium).......................................................................................24
380 BCE: Aristoteles (Meteorology).............................................................................................25
350 BCE: A-E-H-I-O-U- in Egyptian Religion.........................................................................25
The Timeline of Vowel Symbolism...........................................................................................26
350 BCE: Mithras Lithurgy...........................................................................................................27
335 BCE: The greatest fear of the Celts........................................................................................28
Other statements of the fear for a falling sky............................................................................28
Pillars........................................................................................................................................29
Inscription of 4 letters at the Omphalos of Delphi, found by F. Courby...................................29
332 BCE: Alexander occupies Tyrus.............................................................................................30
330 BCE: Etruscan Flag ...............................................................................................................31
200 BCE: Greek Magical Papyri...................................................................................................32
Ecloga Ex Papyris Magicis: Liber II ...................................................................................32
172 BCE: Hermes Trismegistus.....................................................................................................33
124 BCE: Hermes of Roquepertuse...............................................................................................34
53 BCE: The Gallic Wars - Julius Caesar......................................................................................35
The Hermes...............................................................................................................................35
A double-herm...........................................................................................................................36
50 BCE: Janus - Cicero..................................................................................................................36
Clavi..........................................................................................................................................37
~30 AD: The Pharisees.................................................................................................................37
~40 AD: The Claudian letters .......................................................................................................37
Wycliffe.....................................................................................................................................38
98 AD: Germania Tacitus............................................................................................................38
100 AD: The Wars of the Jews by Josephus..................................................................................39
An Image of the universe..........................................................................................................39
100 AD: The Parallel Lives by Plutarch........................................................................................41
140 AD: Gnosis - syzygies.............................................................................................................41
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Illustrations
Fig. 1: The story of Elijah being taken up to heaven (1175)................................................................1
Fig. 2: Palaeolithic androgynous sculpture ........................................................................................11
Fig. 3: adolescent double burial at Sungir (details)............................................................................11
Fig. 4: The Mesha-Stele......................................................................................................................18
Fig. 5: IEUS (Zeus) published by Divos ...........................................................................................20
Fig. 6: The Celtic sovereign wrapped in red & blue .........................................................................21
Fig. 7: Celtic sovereign dressed in purple..........................................................................................22
Fig. 8: Athena-Aphaia temple at Aegina............................................................................................23
Fig. 9: Inscription "E of Gaia" at the omphalos in Delphi.................................................................29
Fig. 10: Flag at the Necropolis of Cimitile-Nola, Tomb Weege 30 ca. 330-320 BCE.......................31
Fig. 11: Double-Hermes found at Roquepertuse................................................................................34
Fig. 12: Bifaced, androgynous Janus as a Coin..................................................................................36
Fig. 13: The Claudian letters..............................................................................................................37
Fig. 14: The Older Fuark (Wikipedia).............................................................................................43
Fig. 15: The Kylver runestone depicting the Iuark...........................................................................43
Fig. 16: Marcomannic Runes.............................................................................................................44
Fig. 17: Magister Peditum page 4 ......................................................................................................45
18: Merovingian Duke or King of Planig.........................................................................................48
Fig. 19: Male Sky-God (Viennese Codex - sixth Cent.).....................................................................50
Fig. 20: Crucifixion in the Rabbula Gospels (600 AD)......................................................................51
Fig. 21: Coronation ceremony for Charlemagne (800 AD)................................................................52
Fig. 22: Book of Kells (800 AD)........................................................................................................53
Fig. 23: Initials in the Rado-Bible (850 AD)......................................................................................54
Fig. 24: Otto I (the Great), 962 AD....................................................................................................56
Fig. 25: Henry II (9731024)............................................................................................................58
Fig. 26: Starred Mantle for Emperor Henry II. .................................................................................59
Fig. 27: Henry II crowned Holy Roman Emperor..............................................................................60
Fig. 28: Conrad II (c. 990 1039)......................................................................................................61
Fig. 29: The so-called "Bamberger Gunthertuch" (1064/65?)............................................................62
Fig. 30: Conrad III (1093 1152).....................................................................................................63
Fig. 31: Crucifix from the sacristy at Worms (1025)..........................................................................64
Fig. 32: Crusaders in the Al-Aqsa-mosque (1099 AD)......................................................................65
Fig. 33: Widukind's Tomb at Enger ...................................................................................................68
Fig. 34: Initials from the psalms in the St. Albans Psalter (1130)......................................................69
Fig. 35: Coronation Mantle for the emperor of the Holy Roman Empire..........................................70
Fig. 36: Frontispiece of the Bury Bible (1135)...................................................................................71
Fig. 37: Winchester Bible, fol.120v. - details of Book Second Kings (1175)....................................72
Fig. 38: Tombs of Henry & Eleonora at Fontevrault..........................................................................73
Fig. 39: King Richard I, Lionheart ( 1189-1199)...............................................................................74
Fig. 40: Frederick I Barbarossa and his sons (from the Welf Chronicle , 1155)................................75
Fig. 41: Henry VI, Codex Manesse (1190).........................................................................................76
42: Color Symbolism at the Mainz Cathedral...................................................................................77
Fig. 43: The Sinking of the White Ship..............................................................................................78
Fig. 44: Frederick II (1212 - 1250).....................................................................................................79
Fig. 45: Frederick II, Holy Roman Emperor meets al-Kamil Muhammad al-Malik .........................80
Fig. 46: Coronation ceremony Louis VIII (1223-1226).....................................................................81
Fig. 47: Louis IX (1226-1270)...........................................................................................................82
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Prehistoric Phase
Early man probably believed in an androgynous, dual-headed deity, in which both heads had been
joined before and probably also after death. Some of these concepts may be found in the body
mirroring18 in prehistoric graves, sculptures and myths.
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Venus of Savignano20
A number of Paleolithic findings may reveal androgynous symbolism. In northeastern Italy, at the
site of Savignano, the Venus of Savignano reveals ambiguous sexual character and may represent
both feminine and masculine organs. Margherita Mussi concludes that this piece is21:
clearly related to a sophisticated and now vanished cosmogony, in which a feminine and
masculine principle were somehow interrelated into a superior oneness.
20
21
22
23
24
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25
26
27
28
PIE = Proto-Indo-European
Details are documented in: The Keywords in God's Name
From: A Divine Sequence of Vowels
In Oscan (Southern Italy)
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Slavic
East Slavic - Russian: (ja Dyaus) , Ukrainian: (ja Dyaus),
South Slavic - Old Church Slavonic: (az Dyaus) , Bulgarian: (az)
Dyaus) , Macedonian: (jas Dyaus), Serbo-Croatian: j / Dyaus, Slovene:
jaz Dyaus,
West Slavic - Czech j Dyaus, Kashubian: j, Polish: ja Dyaus, Slovak: ja
Dyaus, Lower & upper Sorbian: ja Dyaus.
These linguistic and religious concepts had a serious impact on all European areas, where
successful cultures arose from the basic PIE-substrate. PIE-attributes may be found in most
European cultures and can be traced in the divine names in various languages 31, the colors for coatsof-arms and flags up to modern society.
Provencal: D + iu = Diu
Italian: D + i = Di
Spanish: D + yo + s = Dios
Portuguese: D + eu + s = Deus
Romanian: Z + eu = Zeu
old-German: D + ih + s = Dis33
English: D + i + s = Dis (also described by Julius Caesar)
Romance: D + jau = Diu (ideally: Djaus)
Sursilvanic : D + jeu = Diu
Sutsilvanic :D + jou = Diu (ideally: Djous)
Sicilian dialect: D + iu = Diu
Old High German: Z + i(u) = Ziu, which may related the neighboring area
Sutsilvanic :D + jou = Diu (which is to be located in the Alps).
Old English: T + ich = Tig, which may be related to the German pronoun ich34.
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These samples document the basic correlations between divine names and the personal pronouns of
the first person singular (e.g. I). Except for the Slavic languages these samples cover most of the
European areas.
Some Slavic languages (such as Polish, applying the pronoun ja) sometimes refer to the original
divine name dyaus, which in analogy to Romance (D + jau = Diu, ideally: Djaus) would
suggest.
Slavic languages however mostly changed their divine name to e.g. Bg.
Genuine samples of the pronoun iu have been found in Provenal language. Further analysis
suggests to consider
For historical reasons the characters I, and U have been related to the colors red, respectively
purple and blue35.
Several threefold36 up to ultimately sevenfold37 concepts have been initiated, which may have
resulted in a synthesis-concept for various important structures as it has been sketched in the
following overview:
Greek
Vowel 38
Hebrew vowels
(as defined by
Godwin41)
Metals
Planet, Day
Color45
44
of
130-200 of the week
antiquity42 C.E.43
A (alpha)
Ut
(Do)
Ut queant laxis
Aleph
silver
Luna
(moon)
Monday
Red
E (-psilon) Re
Resonare fibris
Cheth
mercury
Mercury Wednesday
Orange
H (eta)
Mi
Mira gestorum
Heh
copper
Venus
Friday
Yellow
I (iota)
Fa
Famuli tuorum
Iod
gold
Sun
Sunday
Green
O-micron Sol
Solve polluti
Mars
Tuesday
Blue
U (Y)
La
Labii reatum
tin
Jupiter
Thursday
Indigo
(-mega) SI
Sancte Iohannes
Suggestions:
- Ain or
- Vav w. point hirek
lead
Saturn
Saturday
Violet
Table 1: Correlations between vowels, pitch, metals, planets, days of the week and the
rainbow's colors
35
36
37
38
39
40
41
42
43
44
45
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. Is it a divine trigram?
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This claim is repeated, with somewhat different names, in Genesis 36:2. In Genesis 27:46, Rebekah
is worried that Jacob will do the same.
The contact between the PIE-people Hittites sufficiently and clearly proves the contact between a
PIE-people and the Jewish patriarch Abram. From this contacts we may accept the idea of
correlations between IHVH and the PIE-deity Dyaus.
Evidence of a settlement at Hattusa predates Hittite presence by thousands of years back to the sixth
millennium BCE, when it was inhabited by the native Hatti people. The Hittite's initial capture of
the city was destructive.
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shall make a breastplate of judgment, the work of the skilful workman; like the work
of the ephod you shall make it; of gold, of blue, and purple, and scarlet, and fine twined
linen, shall you make it.
28They
shall bind the breastplate by the rings of it to the rings of the ephod with a lace of
blue, that it may be on the skillfully woven band of the ephod, and that the breastplate may
not swing out from the ephod.
There is a total of 25 divine orders for the usage of blue, purple and scarlet. In these descriptions
the German Luther-Bible also mentions the color white as an additional, maybe important attribute
for the twined linen.
61 Exodus 28:2-5
62 In this modern translation an early error in the Luther-Bible has been corrected, which erroneously translated the
Greek word Hyacinth for the color blue to yellow.
63 white
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64
65
66
67
68
69
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70 Reference: Hochdorf Revisited - A reconstructed Celtic Site and The Sky-God Dyaeus
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Twining seems to have symbolized the matrimonial bonds between the androgynous partners,
symbolizing the mixture of a male red color and a female blue to a joined purple color. The red &
blue mixture purple therefore honored the basic religious, androgynous core in the imperial family.
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71 Bunte Gtter, organized by the Munich Glyptothek in 2004, and shown in Istanbul in 2006 and in Athens in 2007
72 Labeled in French: Restitution du dcor polychrome certaines statues du fronton ouest du temple (exposition
Bunte Gtter , Munich, 2004) Design: Vinzenze Brinkmann et Hermann Pflug. Painting: Ulrike KochBrinkmann. Original: Munich, Staatliche Antikensammlungen und Glyptothek.
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Other, similarly colored temples and sculptures in red & blue are73:
the Acropolis temple (a reconstructed facade is exhibited in the British Museum, London)
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75
76
77
78
79
80
81
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D# C# B
A# G# F# E
mi re do ti la so fa
There is an often-quoted passage from a Greek Traveler Demetrius 100, circa 350 B.C. on the seven
Greek vowels (variously annotated as , , or aeiou), which are commonly
encountered in the magical papyri and similar ritual texts from late antiquity:
"In Egypt the priests hymn the Gods by means of the seven vowels, chanting them in order;
instead of the pipe and lute the musical chanting of these letters is heard. So that if you were
to take away this accompaniment you would simply remove the whole melody and music of
the utterance (logos)."
In magical papyri we will often find permutations of these vowels by shifting or reversing
sequences 101:
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Pillars
Diana-pillars and their cousins Agyies-pillars are comparable to our modern May-poles, and
basically these are universe-columns, just as well as the Irminsls.
May-poles are known to symbolize fertility in combining the male and female
components107. The universe-columns resting in the flat earth-plate may therefore also be
considered as male respectively female elements.
The likeness of the Delphic Agyies, thus reconstituted, to the Germanic Irminsul is sufficiently striking. It
becomes even more so, when we note that the Irminsul described by Widukind was erected at the gateway of
the town with a pillar on either side of it.
Apollo sanctuary had belonged to Zeus and the letter E may have been assigned to Zeus as well.
This is another fundamental approach.
On the block are engraved four archaic letters, referable to the seventh century B.C. (fig. 120), of which the
last three give us in the genitive case the name of the earth-goddess Ga (or Gas, respectively Gaz109) and
the first appears to be the mystic symbol E. 110
By the ways: it also may be comparable to the letter H in YHV, or the letter A in IA
107The maypole itself is a phallic symbol representing the planting of the god's phallus into the mother earth's womb,
there by illustrating the bringing forth of new life. Source: The Maypole - Dark Dorset
108 Page 176 in Zeus a Study in Ancient Religion Vol 2 Part I (1925) by Arthur Bernard Cook
109 Another depiction is given in Varieties of Unreligious Experience: The E at Delphi
110 The Meaning of the E at Delphi
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Fir trees from Senir for planks, inlaid with ivory by the Ashurites, cedars from Lebanon for the
masts, oaks from Bashan for the oars.
Fine embroidered linen ( Byssos) from Egypt and blue and purple115 covers from the coasts of
Elishah.
Oarsmen from Sidon and Arvad, pilots from Tyre, specialists from Gebal to caulk the seams and all
the merchant ships of the sea. Men of war from Persia, Lydia and Libya, and the men of Arvad and
Gammad as watchmen.
Silver, iron, tin, and lead as payments from Tarshish, human lives and vessels of bronze from Javan,
Tubal, and Meshech, ivory tusks and ebony, emeralds, purple116, embroidery, fine linen, corals, and
rubies from Syria, wheat of Minnith, millet, honey, oil, and balm from Judah and Israel, wine of
Helbon and with white wool from Damascus, wrought iron, cassia, and cane, saddlecloths for riding
from Dedan, lambs, rams, and goats from Arabia and Kedar.
Choicest spices, all kinds of precious stones, and gold, blue purple117 clothes, embroidered garments,
in chests of multicolored apparel, in sturdy woven cords from Sheba, Assyria, and Chilmad.
The specification blue in Ezekiel 27:24 is missing in some translations. The German-translation for
Ezekiel 27:7 also specifies the color red in:
Byssus in Buntwirkerei aus gypten fr Segel und Flagge, sowie blauer und roter Purpur118 von den
Inseln Elischas fr das Zeltdach.
Karfunkel, roter Purpur119, Buntwirkerei, Byssus, Koralle und Rubinen aus Aram, Weizen von
Minnith, ses Backwerk, Honig, l und Balsam aus Juda und Israel, Wein von Chelbon und Wolle
von Zachar, bearbeitetes Eisen aus Wedan und Jawan von Usal, Kassia und Wrzrohr, Prachtdecken
zum Reiten aus Dedan, Fettschafe, Widder und Bcken aus Arabien und Kedar.
Ezekiel 27 therefore seems to specify exactly the same colors White, Purple, Red and Blue as they have been
listed in the divine commands at Exodus 25:4 and 2 Chronicles 3:14.
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Fig. 10: Flag at the Necropolis of Cimitile-Nola, Tomb Weege 30 ca. 330-320 BCE
Necropolis of Cimitile-Nola, Tomb Weege 30 ca. 330-320 BCE121
A red, white and blue banner is carried by a warrior.
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O'
Y Y
I I I I
E'E'E'E'E'
E E E E E E
A A A A A A A
IAO'
O'IA
[draw the
Uzat-Eye,
the Eye of
Horus, here]
IO'A
AE'O'
A
E E
E'E'E'
I I I I
E'E'E'E'E'
E E E E E E
A A A A A A A
E'O'A
O'AE'
These pyramids list the vowels in alphabetical and reversed alphabetical order (of the
Greek alphabet).
The effective impact of charms and spells required a perfect usage of the words and intonation:
122The materials in the papyri date from the 2nd century BC to the 5th century AD.
123Source: Ecloga Ex Papyris Magicis: Liber II
124[This description, taken from a longer spell, does not specify the pronunciation of "I" (iota) or "O'" (omega).] [PGM
V.24-30]
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The Hermes131
A Herma, herm or herme is a sculpture with a head, and perhaps a torso, above a plain, usually
squared lower section, on which male genitals may also be carved at the appropriate height. The
form originated in Ancient Greece, and was adopted by the Romans, and revived at the Renaissance
in the form of term figures and Atlantes. In ancient Greece the statues functioned as a form of ritual
talisman and were placed at crossings, country borders and boundaries as protection.
Before his role as protector of merchants and travelers, Hermes was a phallic god, associated with
fertility, luck, roads and borders. His name comes from the word herma (plural hermai) referring to
a square or rectangular pillar of stone, terracotta, or bronze; a bust of Hermes' head, usually with a
beard, sat on the top of the pillar, and male genitals adorned the base. The hermai were used as
boundary markers on roads and borders. In Athens, they were placed outside houses as apotropes
for good luck.
129 Based on information from Wikipedia: The Gallic Wars
130 Commentarii de Bello Gallico (English: Commentaries on the Gallic War)
131 Information from Wikipedia entry: herma
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Especially in Roman and Renaissance versions, the body was often shown from the waist up. The
form was also used for portrait busts of famous public figures, especially writers like Socrates and
Plato. Sappho appears on Ancient Greek herms, and anonymous female figures were often used
from the Renaissance on, when herms were often attached to walls as decoration.
A double-herm
Some Double-Hermes may be identified as androgynous (e.g. the bi-faced sculpture at the museum
in the German city Kassel). The Roman deity Janus and the Hermes of Roquepertuse have been
depicted as a bi-faced deity as well.
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Clavi
Purple stripes (named clavi) were reserved for the knights and senators. As a divine emperor Nero
reserved purple clothing for the imperial family. Claviger is the attribute for the ancient Roman
deity Janus as a key-bearer. Originally the keys to be carried by Janus may not have been the
standard metal keys. Instead they must have been religious keys to be symbolized in the purple
Clavi-keys at the tunic. These symbols are as old as Janus him- respectively herself.
The original gender of Janus is quite obscure. As most of the most ancient gods he or she is reported
to have been an androgynous deity and predecessor of the androgynous sky-god Jupiter. The
androgynous character would explain the male and female attributes in the Clavigers' symbolic
color purple.134
Claudius proposed a reform of the Latin alphabet by the addition of three new letters, two of
which served the function of the modern letters W and Y.
A half H was used to represent the so called sonus medius, a short vowel sound between U and
I before labial consonants in Latin words such as optumus/optimus, later used as a variant of the
close front rounded vowel-y in inscriptions for the Greek vowel upsilon (as in Olympicus).
A reversed C (anti-sigma) was used to replace BS and PS, much like X stood in for CS and
GS139.
Now the most important of these three letters is the Y, which according to Loeb's footnote is used
to represent a sound between u and i in maxumus, maximus, etc.;
134 See the documentation at: Yellow for Judas
135 Reference: Patrism, Matrism and Androgyny
136 From the Jewish Encyclopedia: Adam Kadmon ( Er. 18a, Gen. R. viii.)
137 This image is in the public domain because it is an SVG representation of an ancient script.
138 Please note that the new characters also refer to the letters Y,H and V respectively W in the divine name YHVH.
139 The appearance of this letter is disputed, however, since no inscription bearing it has been found.
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In footnote to A copious Latin grammar: Volume 1 - page 109140 the effect is being described as a
minor error:
b) for optimus, pessimus, minimus, maximus, we find even in the best writers optumus,
pessumus, minumus, maxumus, as decimus decumus.
A missing interpretation for the the sound between u and i indicates that the original work as written
by Claudius to explain his theory for the three letters had been lost. To my opinion however a
sound intermediate between U and I suggests to consider the character Y as an androgynous,
religious symbol in which the female letter U has been placed over the male symbol I.
Wycliffe
Of course Wycliffe141 (c. 1328 1384) knew the important work of Suetonius and he may
have known the work of Claudius as well. He may have understood the symbolism of the
sound between u and i and the androgynous creation legends. Did he redesign a new
religious concept by choosing the Y-letter as a new Ego-pronoun in English instead of the
predecessor ic?
Religious symbolism would also explain why the English Ego-pronouns Y and I have been
written as capitals. Wycliff's Y denotes the androgynous and the modern pronoun I refers to
the male symbolism. In Wyclif's Bible the personal pronoun of the first person singular has
been defined as an upper case character Y.
140 Immanuel Johann Gerhard Scheller, George Walker - 1825 - Vollstndige Ansicht
141 The Y-Proceedings (The Y-Key to the English Ego-Pronouns)
142 Subtitle: De origine et situ Germanorum liber
143 In Indo-European languages the common sky-god is named Dyaus
144 Source: Jacob Grimm, German Mythology
145 at the German island of Rugen
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146 The Symbolism of the Colors Purple, White, Red and Blue
147Critique of Modern Art by Frederick Solomon (1970)
148The History Of The Destruction Of Jerusalem
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Nor was this mixture of colors without its mystical interpretation, but was a kind of image of the
universe; for by the scarlet there seemed to be enigmatically signified fire, by the fine white (?)
flax the earth, by the blue the air, and by the purple the sea; two of them having their colors the
foundation of this resemblance; but the fine flax and the purple have their own origin for that
foundation, the earth producing the one, and the sea the other. This curtain had also embroidered
upon it all that was mystical in the heavens, excepting that of the [twelve] signs, representing living
creatures.
Another reference is given in the description of Moses' Tabernacle in the Wilderness, for which the
Bible prescribes the use of four elementary colors: blue, scarlet, purple and white. However
Josephus does not explain these colors yet, although these are the same colors which have been
documented for the temple:
HEREUPON the Israelites rejoiced at what they had seen and heard of their conductor, and
were not wanting in diligence according to their ability; for they brought silver, and gold,
and brass, and of the best sorts of wood, and such as would not at all decay by putrefaction;
camels' hair also, and sheep-skins, some of them dyed of a blue color, and some of a scarlet;
some brought the flower for the purple color, and others for white, with wool dyed by the
flowers aforementioned; and fine linen and precious stones, which those that use costly
ornaments set in ouches of gold; they brought also a great quantity of spices; for of these
materials did Moses build the tabernacle, which did not at all differ from a movable and
ambulatory temple.
These four basic color symbols red, blue, purple and white have been found in many temple
decorations149, tomb decorations, medieval bible illustration150, sacred paintings, religious garments,
as well as in coat of arms and flags. In the biblical text for Lamentation for Tyre the trading, the
traders and the customers for these elementary symbolic dyes has been described in details.
The four colors represented the four elements air, fire, sea and earth. Although their symbolism
may have been extended and altered since Josephus, the color symbolism generally formed the
fundamental base for sacred paintings.
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100-300 AD155:
iaou, jous, Yow, Yaou, a, jeu, joi, Jov, Jou or Jovis, gio, joi, jue, Iau
Especially the French name for Thursday (jeudi) correlate to the previously identified Provencal
ego-pronoun ieu and the corresponding divine name Dieu in French. Merely the French word
for day jour deviates from the genuine linguistic generation process. The corresponding ideally
matched word would have been the non-existing alternative jeur for jour.
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The letter
letter may easily be identified by a joined U and I, symbolizing a divine, matrimonial couple.
Marcomannic runes
In a treatise called De Inventione Litterarum, preserved in 8th and 9th century manuscripts, mainly
from the southern part of the Carolingian Empire (Alemannia, Bavaria), ascribed to Hrabanus
Maurus, a runic alphabet consisting of a curious mixture of Elder Futhark with Anglo-Saxon
futhorc is recorded. The manuscript text ascribes the runes to the Marcomanni, quos nos
Nordmannos vocamus, and the alphabet is hence traditionally called "Marcomannic runes", but it
has no connection with the Marcomanni and is rather an attempt of Carolingian scholars to
represent all letters of the Latin alphabets with runic equivalents.
Wilhelm Grimm discussed these runes in 1821 (Ueber deutsche Runen, chapter 18, pp. 149159).
The Marcomannic runes also provide us with a new symbol Huyri for the modern letter Y.
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Magister Peditum page 4 from the Roman Notitia Dignitatum (5th century AD) 168
167after Saint Constantine issued the Edict of Milan in 313, which proclaimed religious tolerance of Christians
throughout the empire.
168public domain (because its copyright has expired.)
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171 City of God (De civitate Dei, begun ca. 413, finished 426)
172 Reference: Cross-references for Deities and Man
173 City of God by Saint Augustine (Bishop of Hippo.), Henry Bettenson
174Thy is originally the same word as Old Norse j ("thioth"), meaning people. The Danish Census Book of
King Valdemar II of 1231 mentionsThiuthsysl, i.e. the syssel of Thy. Thy is by some scholars thought to be the
origin of the Teutons;
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175 The Colors at the Main Gate of the Mainz Cathedral and Der Frst von Planig - Mainzer Landesmuseum
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178There is some evidence that the Egyptians already used to depict the sun as a red circle.
179Reference: The Sky-God Dyaeus
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1014: Henry II
Henry II (9731024), called the Holy or the Saint, was the fifth and last Holy Roman Emperor of
the Ottonian dynasty, from his coronation in Rome in 1014 until his death a decade later. His
garments are orange, yellow (or gold?) and blue with red & blue decorations. Please also note the
weaving patterns in blue and red at his feet and at the border lines...186
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The Starred mantle of Heinrich II is similar to that of the Coronation Mantle of St. Stephen and the
Great Mantle of his wife, St. Kunigund 189. Since St. Stpehens' wife, Gisela was the sister of
Heinrich II, it is possible the three mantles were made in the same region.
187Henry II-site
188Colored Coronation Mantles
189 made in Southern Germany in the early 11th Century
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The coronation mantle was (always?) to be seen as one colored element in a composition of several
components. At the coronation the emperor is depicted wearing a magenta garment and a blue robe,
while being seated on a throne, decorated with red colored.
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1027: Conrad II
Conrad II (c. 990 June 4, 1039), Holy Roman Emperor from 1027 until his death. All persons on
this 14th century miniature of Conrad II are wearing red, blue and purple garments190
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The so-called Gunthertuch is a Byzantine silk tapestry which represents the triumphal return of a
Byzantine Emperor from a victorious campaign. The piece was purchased, or possibly received as a
gift, by Gunther von Bamberg, Bishop of Bamberg, during his pilgrimage 1064/65 to the Holy
Land.
He is flanked by two female tychae, who personify Constantinople's two demoi, the Blues and the
Greens, who are also wearing red overcoats.
Apart from a singular green row at the left and right side of the Gunthertuch the background has
been set in small circular areas of blue and red colors191.
191See the detailed photograph in Colored Coronation Mantles
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Rashi
Rashi202 was a medieval French rabbi was famed as the author of the first comprehensive
commentary on the Talmud, as well as a comprehensive commentary on the Tanakh (Hebrew
Bible). He is considered the "father" of all commentaries that followed on the Talmud (i.e., the
Baalei Tosafot) and the Tanakh (i.e., Ramban, Ibn Ezra, Ohr HaChaim, et al.).
Rashi was an only child born at Troyes, Champagne, in northern France. His mother's brother was
Simon the Elder, Rabbi of Mainz. Shimon was a disciple of Rabbeinu Gershom Meor HaGolah,
who died that same year. On his father's side, Rashi has been claimed to be a 33rd-generation
descendant of Yochanan Hasandlar, who was a fourth-generation descendant of Gamaliel the Elder,
who was reputedly descended from the royal house of King David. In his voluminous writings,
Rashi himself made no such claim at all. The main early rabbinical source about his ancestry,
Responsum No. 29 by Solomon Luria, makes no such claim either.
Rashi's Genesis (1100 AD)
God as Judge, alone without the angels, created the human being, by hand, in a mold
which was like the mold with which a seal is made or like the die from which a coin is
produced, and which had been specially crafted for the human being. In a mold which was a
hologram image of God, God created the human being. One being which was both male
and female and which was subsequently divided into two beings, God created them 203 .
199references: The Sky-God Dyaeus and Sacred Phonemes - Moulding the sacred words
200RAbbi SHlomo Itzhaki
201from the Greek, hlos whole + graf writing, drawing
202Info from Wikipedia's Rashi
203 Rabbi Rashi 1040-1105, northern Europe (chapter 27)
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Rashbam204
He was born in the vicinity of Troyes, in around 1085 in France to his father Meir ben Shmuel and
mother Yocheved, daughter of Rashi. He was the older brother of the Tosafists Isaac ben Meir
(Rivam) and Jacob ben Meir (Rabbeinu Tam), and a colleague of Rabbi Joseph Kara.
Like his maternal grandfather, the Rashbam was a biblical commentator and Talmudist. He learned
from Rashi and from Isaac ben Asher ha-Levi (Riva). He was the teacher of his brother, Rabbeinu
Tam. His method of interpretation differed from that of his grandfather.
Thus Rashbam (on Genesis i. 5) maintained that the day began at dawn and not from the previous
sunset (as later Jewish custom assumed). This contrasts to the ancient Celtic idea as described by
Julius Caesar, who claims that the Gauls considered the days as successors of the nights205.
All the Gauls assert that they are descended from the god Dis 206, and say that this tradition
has been handed down by the Druids. For that reason they compute the divisions of every
season, not by the number of days, but of nights; they keep birthdays and the beginnings of
months and years in such an order that the day follows the night.
Caesar however referred to the idea of Dis as a deity of the dark underworld.
Rashbam's Genesis (1170 AD)
God said, 'Let us make humanity in our angelic image, like us in wisdom. The humans shall
rule the fish of the sea, the birds of the heaven, the domestic animals, and all the earth, as
well as the creeping things which creep over the earth'. God created humanity in the angelic
image; in the image of the angels, God created humanity; God included the woman in the
man and separated them later207.
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Fig. 34: Initials from the psalms in the St. Albans Psalter (1130)
public domain because its copyright has expired.
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Fig. 35: Coronation Mantle for the emperor of the Holy Roman Empire.
License: public domain, published by (Gryffindor) stitched by Marku1988
Palermo Royal workshop, 1133/34 Figured silk (kermes-dyed),
gold and silk embroidery, pearls, gold with cloisonn enamel, precious stones H 146 cm, W 345 cm
It bears an inscription in Arabic with the Hegira date of 528 (113334).
The mantle is a semi-circle of red silk twill. The central motif is a Tree of Life with stylized animals
on either side - a lion attacking a camel. The embroidery is mainly goldwork, done in underside
couching with some details made in polychrome silk of red, light blue, yellow and dark brown.
The indigo and purple colored coronation mantle has been combined 213 with a light yellow Alba
(created 1181) and a deep blue (indigo & Rubia tinctorum-colored) Dalmatica/Tunicella.
In fact the coronation garments may be defined as colored red to the outside and light yellow & blue
at the hidden interior.
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214Reference:
Illuminated Manuscripts
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Fig. 37: Winchester Bible, fol.120v. - details of Book Second Kings (1175)
The images are public domain because their copyright has expired.
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1155: Barbarossa217
All persons are dressed in red & blue garments. Frederick Barbarossa, middle, flanked by his two
children, King Henry VI (left) and Duke Frederick VI (right).
Fig. 40: Frederick I Barbarossa and his sons (from the Welf Chronicle , 1155)
217 References to: A compact Overview of Bipolar Symbolism and Blue and Red in Medieval Garments
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221 Originally from British Library, Cotton Claudius dii, f45v. This image is in the public domain.
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Fig. 45: Frederick II, Holy Roman Emperor meets al-Kamil Muhammad alMalik
Frederick II, Holy Roman Emperor (left) meets al-Kamil Muhammad al-Malik (right),
from a manuscript of the Nuova Cronica by Giovanni Villani (created 14th century)
public domain because its copyright has expired.
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1226: Louis IX
In this scenery at the court of the French king Louis IX (1226-1270) the king is dressed in a red
robe, blue overcoat and white ornaments. The throne basically is red and blue with golden
decorations. His soldiers wear red and blue combinations. The initial letter of the text block is a
combination of red, blue and golden decorations.
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own photograph
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Born 1295 Reinout II has been married twice. His first marriage had been sealed at Roermond:
The listed attributes refer to interconnections between the Plantegenets and the counts of Gelre,
which may have been established in former times as well. Maybe the colors red, white and blue
have also been used as common symbols for their dynasties.
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231
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1300: Alchemy237
The history of alchemy has become a vigorous academic field. As the obscure hermetic
language of the alchemists is gradually being "deciphered", historians are becoming more
aware of the intellectual connections between that discipline and other facets of Western
cultural history, such as the sociology and psychology of the intellectual communities,
kabbalism, spiritualism, Rosicrucianism, and other mystic movements, cryptography,
witchcraft, and the evolution of science and philosophy.
Alchemy, derived from the Arabic word al-kimia) (, is both a philosophy and an ancient
practice focused on the attempt to change base metals into gold, investigating the preparation of the
"elixir of longevity", and achieving ultimate wisdom, involving the improvement of the alchemist
as well as the making of several substances described as possessing unusual properties. Alchemy
has been practiced in ancient Egypt, Mesopotamia (modern Iraq), India (modern Indian
subcontinent), Persia (modern Iran), China, Japan, Korea, the classical Graeco-Roman world, the
medieval Islamic world, and then medieval Europe up to the 20th century, in a complex network of
schools and philosophical systems spanning at least 2,500 years.
Starting with the Middle Ages, Persian and European alchemists invested much effort in the search
for the "philosopher's stone", a legendary substance that was believed to be an essential ingredient
for either or both of those goals.
European alchemy started around 1300 on the basis of several predecessors as listed in Wikipedia's
entry alchemy:
1. Egyptian alchemy [5000 BC 400 BC], beginning of alchemy
2. Indian alchemy [1200 BC Present],[27] related to Indian metallurgy; Nagarjuna was an
important alchemist
3. Greek alchemy [332 BC 642 AD], studied at the Library of Alexandria Stockholm papyrus
4. Chinese alchemy [142 AD], Wei Boyang writes The Kinship of the Three
5. Islamic alchemy [700 1400], Jbir ibn Hayyn develops experimental method for alchemy
during the Islamic Golden Age
6. Islamic chemistry [800 Present], Alkindus and Avicenna refute transmutation, Rhazes
refutes four classical elements
7. European alchemy [1300 Present], Saint Albertus Magnus builds on Islamic alchemy
8. European chemistry [1661 Present], Boyle writes The Sceptical Chymist, Lavoisier writes
Trait lmentaire de Chimie (Elements of Chemistry), and Dalton publishes his Atomic
Theory
Banning alchemy
Pope John XXII issued a bull against alchemical counterfeiting, and the Cistercians banned the
practice amongst their members. In 1403, Henry IV of England banned the practice of Alchemy. In
the late 14th century, Piers the Ploughman and Chaucer both painted unflattering pictures of
Alchemists as thieves and liars. By contrast, Rudolf II, Holy Roman Emperor, in the late 16th
century, sponsored various alchemists in their work at his court in Prague.
One of the manuscripts, which may have circumvented the bans by cryptography, may have
been the Voynich manuscript, described as "the world's most mysterious manuscript", is a
240-paged work dated to the early 15th century (ca. 1420), possibly from northern Italy. It is
named after Wilfrid Voynich, who purchased it in 1912.
237 Information from Wkipedia's entry Alchemy
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Fig. 52: Eckard II und seine Frau Uta, Stifer des Naumburger Doms
This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
238In the donor portraits by the Naumburg Master in the Naumburg Cathedral. These works date to the middle of the
13th century
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Fig. 53: Initial B (Beatus) from the Book of Psalms (Fcamp Bible, 1300)
239 Folio 238r of the Fcamp Bible (British Library, Yates Thompson 1)
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243 E - of the Word Ei Engraven Over the Gate of Apollos Temple at Delphi
244 Source : Divina commedia - Paradiso, Canto XXVI
245 The Prime Words in Adam's Language
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Initial for the letter L = Liber Generationis including a number of blue and red and yellow (golden)
decorations249.
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The following illuminated page including Charlemagne's court has been created by Jacob van
Maerlant. Spieghel Historiael. West-Flanders, 1325-1335252. Obviously by avoiding robes in green
and yellow the medieval artist explains the safety and peaceful environment of a great and beloved
ruler, protected and admired by his Pairs and other noble subjects. The purple refers to the divine
support for the royals. Purple is the divine symbol which still has to be deciphered.
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Another miniature painting reveals the Flemish-Dutch author Jacob van Maerlant sitting at his
desk, at which an open book may be identified. The author is wearing a light purple robe over a red
dress. The initial applies exclusively red & blue signifying the author as a truthful religious guide
for the divine path to heaven.
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253 see the overview at: Royal coat of arms of the United Kingdom
254 Reference: Red and Blue in the Middle Age
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King Henry IV updated the French arms to the modern version, three fleurs-de-lis on a blue field.
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In analogy to many other illuminated bibles the beginning of the Gospel of John from the 14th
century copy of Wycliffe's translation258 applies initials in red and blue decorations, which most
probably symbolize the red (male) and blue (female) elements of man and the purple colors
symbolizing the divine synthesis of the male and female elements.
The Wyclif Bible clearly defines an identical source nouyt259 for the creation of the sky, earth and
for man. God made of nouyt hem, male and female defines the first man as a plural
individual, male and female character, which implies an androgynous couple.
The Wyclif Bible260 identified the first man as a singular individual creature, simultaneously male
and female, exactly as it had been described by Plato in Symposium. Describing these concepts in
plain English certainly must have triggered the severest religious censorship laws of the medieval
Church.
257 Reference: The Wycliffe Bible
258 Folio 2v of MS Hunter 191 (T.8.21)
259 Nought (?)
260 The Y-Proceedings (The Y-Key to the English Ego-Pronouns)
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Wyclif's Ego-pronoun
Wyclif applied the Ego-pronoun261 as an upper case character Y262 instead of the modern I. In
analogy to the Ego-pronoun iu in Occitan language the Y-pronoun may have symbolized an
androgynous iu-synthesis in the divine concept.
The Wyclif Bible documents some of the most remarkable versions of the ancient Book Genesis
explaining liyt (light) and nyyt (night) as antipodes in a divine concept, in which the Y-character
equally represented the female U and the male I-elements.
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In the beginning God266 created the heavens and the earth. Now the earth was formless and
empty. Darkness was on the surface of the deep. Gods Spirit was hovering over the surface of
the waters. God said, Let there be light, and there was light. God saw the light, and saw that
it was good. God divided the light from the darkness. God called the light Day, and the
darkness he called Night. There was evening and there was morning, one day.
God said, Let there be an expanse in the midst of the waters, and let it divide the waters from
the waters. God made the expanse, and divided the waters which were under the expanse from
the waters which were above the expanse, and it was so. God called the expanse sky. There was
evening and there was morning, a second day.
God said, Let the waters under the sky be gathered together to one place, and let the dry land
appear, and it was so. God called the dry land Earth, and the gathering together of the waters
he called Seas. God saw that it was good. God said, Let the earth put forth grass, herbs
yielding seed, and fruit trees bearing fruit after their kind, with its seed in it, on the earth,
and it was so. The earth brought forth grass, herbs yielding seed after their kind, and trees
bearing fruit, with its seed in it, after their kind: and God saw that it was good. There was
evening and there was morning, one day, a third day. God said, Let there be lights in the
expanse of sky to divide the day from the night; and let them be for signs, and for seasons, and
for days and years; and let them be for lights in the expanse of sky to give light on the earth,
and it was so.
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Fig. 74: A Sun & Moon Symbol with red, blue and white Rays
The Voynich Manuscript (121) illustration, public domain for its age267
The Voynich manuscript contains a series of colored drawings which generally are interpreted as an
overview of plant illustrations. Most of these herbal illustrations are colored with green leaves and
blue, respectively red flowers. None of these flowers has been colored yellow, which may suggest
us to believe these plants are symbolizing human fertility. A herbal handbook statistically should be
listing at least one singular yellow flower.
Another main section of the manuscript describes a universe centered around structures, which are
combining the sun and the moon-combinations, which traditionally have been defined and used as
androgynous symbols, in which the sun is the male and the moon the female symbol.
Elements have been coupled by a chain of pipelines, which may be symbolizing fertility symbols,
leading the fertilizing rain (or water) into tubs. Two sketches contain symbols, which may be
interpreted as rainbows the ancient androgynous symbol for religious links to the Divine Being,
and also an androgynous symbol for the red male element and the opposite female blue element.
In the overview of a living universe the plants have disappeared. From a distance the universe
may also be interpreted as a living body, a city, a medieval heaven or a solar system.
Of course this analysis is one of a series of possible interpretations, which do not refer to any part of
the encrypted text. To my opinion the Voynich manuscript may be interpreted as an alternative
creation legend, explaining the mechanisms of the universe, human fertility and the flora in a
mechanical system of dependencies like flowing fluids, pipelines, rays and and clouds.
It may have been encrypted to avoid the Pope's ban for alchemical theories.
267A page from the mysterious Voynich manuscript, which is undeciphered to this day. The image on the right indicates
a 24 month cycle with the seasons listed and the image to the left indicates the mooncycles and planetary positions.
Beinecke Rare Book & Manuscript Library, Yale University).
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Additionally the duchess Hedwig von Mecklenburg. abbess of the cloister Ribnitz, 1423, 1467,
and the duchess Elisabeth von Meklenburg, daughter of Heinrich III. of Mecklenburg=Schwerin
(abbess 1467 1503) used a similar AEIOU-device for their signature stamps272. The stamps
included the image of a bull's head. The stamps have been used for at least 2 documents, dated 1469
respectively 1482. This however is a strange signature stamp for two abbesses!
270 Love is a five-letter bird
271 AEIOU, or A.E.I.O.U. was a symbolic device utilised by the Habsburg emperors. Emperor Frederick III (141593),
who had a fondness for mythical formulae, habitually signed buildings and objects with the acronym.
272 Georg Christian Friedrich Lisch : Siegel der Herzogin Hedwig von Meklenburg, Aebtissin des Klosters Ribnitz,
1423, + 1467, und der Herzogin Elisabeth, Hedwigs Nachfolgerin
In: Jahrbcher des Vereins fr Mecklenburgische Geschichte und Altertumskunde, Band 21 (1856), S. 314-315
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275 Codex 2772, fol. 198v (III Maccabeorum = Josephus Flavius, Antiquitates XIII-XVI)
276 Reference: The Sky-God Dyaeus
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Dying Purple
Between the 11th and 16th century the dyers have been split into two different guilds, named reddyers and blue-dyers. The market for dyed textiles seems to have been rather fluctuating. In the
Middle Age bright colors for wealthy customers varied from purple to red, white and blue. Green
may have been popular in local areas of Germany. Yellow generally has been despised by Christians
as a vicious symbol, but may have been exported to non-Christian areas in the Middle East or Far
East. In fact all successful technologies such as dyeing, weaving, forging and masonry had their
own impact on alchemy. Masons, forges and dyers were respected persons, who succeeded to
manage their environment.
Fig. 81: Dying Purple for the great King and Adam & Eve (1519)
Pourpre excellent pour vestir le Grand Roy. (1519)
From Chants Royaux sur la conception couronne Bibliothque Nationale, Paris.
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In this 500 year old painting the devil is dying the black colored sheep whereas Jesus is coloring the
purple or pink animals.
A couple (undressed like a reddish Adam and white, but red-haired Eve) is waiting to be clothed by
the ladies dressed in black, respectively red & blue, who are preparing the white wool for further
processing.
The wool has not been provided by the black and purple sheep. Instead Adam and Eve will be
dressed in woolen clothes like sheep, which will be painted black (evil) by the devil respectively
purple (good) by Jesus. Obviously the painting is an allegory describing the symbolism in
medieval religion.
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Fig. 83: The Last Supper (copy after Leonardo da Vinci (1498)
created by an unknown artist, exhibited at the Da Vinci-Museum - Tongerlo
Of course we should not expect Judas to be painted in bright yellow colors (as done by Giotto in the
Kiss of Judas). There is a secret to be painted, which may be revealed as a slight detail to the public.
Unfortunately the painting and especially its colors have been deteriorated in the past eras. As a first
impression we may observe a person at the third location from the left, wearing a clearly visible
yellow garment, who seems to be in rage for being uncovered as a betrayer. This person, St.
Andrew, however is not the traitor. We will have to search for Judas...
Jesus and St. John have been painted in the traditional symbolic colors red & blue for sacred
medieval paintings. Judas has been painted in red & blue as well, but is wearing a green garment
over his left arm as a indication for an evil agent under cover. Accidentally St. Andrew is
(probably ?) wearing a yellow garment and seems to be upset for being considered as a traitor.
In order to enable a better identification of the colors the analysis has not been performed at the
original painting, but at a copy by an unknown artist. The image is a public domain painting from
the Wikipedia database.
280 References: Color Coding in the Last Supper (by Leonardo Da Vinci) , colors Codings in the Last Supper
(Overview) and Yellow for Judas .
281 Italian: Il Cenacolo or L'Ultima Cena
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Fig. 84: Red and blue fruits (The Earthly Paradise -1510)
The analysis clearly identifies pink (rose-red) and blue as the central symbolic elements, referring
to human fertility and the androgynous creation legend. Of course red and blue have been identified
in other documents and paintings, especially in the illuminated medieval Bible's manuscripts and
medieval religious icons and other paintings. These principles must have been widely spread in the
Middle Age.
282 References: Symbolism in the Garden of Delights by Hieronymos Bosch and The Fundamental Color Symbols
Blue and Red
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In an overview the upper part of the central panel reveals five tower constructions, which have been
designed by combining rose-red (pink) and blue colors.
Fig. 85: Pink and blue formations (The Earthly Paradise Bosch,1510)
The symmetry has been carefully balanced to equalize the pink and blue elements. These colors
probably symbolize the male and female forces in creation. In the Fountain of Eden a male pillar is
located on to of a deep blue, female foundation.
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Fig. 87: A red bagpipe and a blue woman (The Earthly Paradise Bosch,1510)
The Adamites
Bosch may have been a member of a sect (the Adamites?) and as a member he may have been
forced to hide some of the secret codes of the sect's message. Particularly as the androgyny of the
Adamites may have influenced the painter's symbolism and his work. The secret color codes for
androgyny have been: red (as a male symbol), blue (as a female symbol) and purple (as a divine or
androgynous symbol).
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The Kingfishers
Bosch also depicts two kingfishers, which have been decorated with blue, green and orange colors.
These colors probably refer to fertility symbolism for the male and female elements. The second
kingfisher may symbolize the artist with a woman, who is enforced to keep the secret.
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Fig. 91: God, surrounded with one or two purple/blue (?) rainbows
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Between the 10th and the 15th century the red-dyers and blue-dyers have been manufacturing
precious textiles in Flanders and the neighboring countries. The chemical processes required two
separate guilds for these dyers. According to medieval traditions the red-dyers and blue-dyers may
have considered themselves as male (symbolized by the sun's symbolic color ranging from red to
orange-yellow) respectively female (symbolized by the moon's symbolic color ranging from blue to
blueish pale).
Manufacturing some of the most important colored textiles (purple and black) required a
partnership between both concurrent guilds for the red-dyers and blue-dyers, which may have been
compared to the alchemical matrimony between the sun-king and the moon-queen. The cooperation
between red-dyers and blue-dyers may have been symbolized in the medieval Dutch word paars
as the color purple.
Most of the symbolism of red-dyers and blue-dyers has been lost at the end of the Middle Age,
ruining the manufacturing sites by introducing new, alternative dyes and opened new markets for
the textile-trading.
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The Reformation
1545: The Luther-Bible - The 2nd Book of Moses - Exodus
In 1545 Luther published a translation 286 of the Bible, in which he described the colors for the
Covenant Tent and the Temple. In The 2nd Book of Moses - Exodus 25-3 applies the words for red
colors scarlet and rosin-red. Instead of the traditional color blue he erroneously translates
hyacinth to yellow. The multiple, repeated error is a systematic error and may have influenced the
public opinion of the symbolic colors yellow and blue. In the Middle Age yellow had been a
stigmatic color to be used for lower-class people, but now it must have been upgraded to a divine
symbol instead of blue.
Das ist aber das Hebopfer, das ihr von ihnen nehmen sollt: Gold, Silber, Erz, gelbe
Seide, Scharlaken, Rosinrot, weie Seide, Ziegenhaar,
Also in Exodus 26-1,31,36 he applies scarlet and rosin-red, yellow and white:
Die Wohnung sollst du machen von zehn Teppichen, von weier gezwirnter Seide,
von gelber Seide, von Scharlaken und Rosinrot. Cherubim sollst du dran machen
knstlich.
Und sollst einen Vorhang machen von gelber Seide, Scharlaten und Rosinrot und
gezwirnter weier Seide; und sollst Cherubim dran machen knstlich.
Und sollst ein Tuch machen in die Tr der Htte, gewirkt von gelber Seide, Rosinrot,
Scharlaken und gezwirnter weier Seide.
And in Exodus 27-16:
Aber in dem Tor des Hofes soll ein Tuch sein, zwanzig Ellen breit, gewirket von
gelber Seide, Scharlaken, Rosinrot und gezwirnter weier Seide, dazu vier Sulen
auf ihren vier Fen.
etc..
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289 in Dutch: Oranje, Wit, Blauw or Oranje, Blanje, Bleu, from French: Orange, Blanche, Bleu
290 Easy amidst of the waves
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In English, the nominative form of the singular first-person pronoun, "I" is almost always
capitalized, along with all its contractions (I'll, I'm, etc.).
Many European languages capitalize nouns and pronouns used to refer to God (reverential
capitals): hallowed be Thy name, look what He has done. Some English authors capitalize
any word referring to God: the Lamb, the Almighty; some capitalize "Thy Name."
In Dutch there is at least one singular letter, written by William of Orange, demonstrating the
usage of capitalized first-person pronouns (Ic) and second person singular or plural
pronouns (U). An example for these letters may explain better how the prince may have used
capitalization in his letters.
291 or capitalisation
292 upper-case letter
293 lower-case letters
294 Letter #10317 (William of Orange)
295 U has been written as V; U-lieden has been written as Vlieden, in which the letter V generally is identical to U
(you)
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Some corrector has underlined a number of words and substituted others above the line. The
substituted words have been added as footnotes. In the following Old-Dutch text these examples
have been highlighted:
Myne heeren Ic duncke dat tot noch toe ghy hebt moghen ghenouchsaemlick bekennen den
goeden wille die my Godt ghegheuen heeft, om Vlieder arme vaderlant in vryheyt te stellen
zo wel in tgene dat angaet de politie296 desselfs, als de religie ende hoe dat Ick verdraghen
hebbe ontellicke moyelicheden, dat Ic selfs meyn eyghen leven ghewaecht hebbe om tot
desen ende te commen.
Waert dat Ic sowel de macht297 ende mogentheit hadde, als den goeden wille, Ick298 ware te
vreden alle het last vp myn schouderen te nemen, sonder yemant eenichsins daer mede te
bezwaren299.
tWelck ghy hebt moghen verstaen300 vutedien dat Ic vlieden hier te vooren301 niet seer
beswaert hebbe, Insulckerwys dat Ic soude begheeren ten coste van myn eyghen leuen
(waertmy moghelich) tlant vuttecoopen ofte verlossen van de slauernye 302 der goederen,
lichamen, ende zielen daer in het is, sonder dattet yemant yet costen soude.
Maer vlieden ghemerct dat mynen wensch niet en baet, ende dat myn eighen macht303 niet
ghenouchsaem is304 voor zulcken last, Ic ben bedwonghen helpe te begheeren eyst305 niet an
alle waere Christenen dien onghetwifelt dese zake belanct, ten minsten an die guene306, den
welcken (ghemerct sy van een lant zyn) de sake schynt naerder an te gaen.
Ende namelick tot vlieden die vut sonderlicke weldaet gods zyt vertrocken in een plaetse der
ruste stilheyt. Dat den noot zeer groot zy ziet ghy, ende daer es niemant onder V diess
onwetende.307
The trailer for this letter documents308:
Ja eenyeder als Ic achte zal bekennen dat Ic onachtsaemlick verlaten ben309 gheweest van
die der310 welcker getrauwicheit my behoorde ghedient thebben tot bystant ende hulpe...
Van Delft desen 26 dach Februarij 1573.
V Lieder goede Vrient Guillaume
van Nassau
Bouen stont geschreuen Aende Dienaeren Ouderlinghen ende Diaconen der gemeenten van
Londen Norwits Sandwits Medston Colchester Ypswich eende Tetfort.
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I found another portrait of queen Elizabeth I of England, which also contains a coat of arms. The
dark blue sections of the coat of arms (which by definition should be a combination of red and blue)
is colored in the same dark hue as the dark sections of her garments. Therefore originally these dark
hues may have been bright blue colors as well.
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The royal proclamation gave no distinctive name to the new flag. The word "jack" was in use before
1600 to describe the maritime bow flag. By 1627 a small Union Jack was commonly flown in this
position.
One theory goes that for some years it would have been called just "the Jack", or "Jack flag", or "the
King's Jack", but by 1674, while formally referred to as "His Majesty's Jack", it was commonly
called the Union Jack, and this was officially acknowledged.
The current design of the Union Flag dates from the union of Ireland and Great Britain in 1801. It
consists of the red cross of Saint George (patron saint of England), edged in white, superimposed
on the Cross of St Patrick (patron saint of Ireland), which are superimposed on the blue Saltire of
Saint Andrew (patron saint of Scotland). Wales, however, is not represented in the Union Flag by
Wales' patron saint, Saint David.
314 Info from the Wikipedia entry Union Flag & Union Jack
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315 Symbola aureae mensae duodecim nationum by Michael Maier - typis Antonij Hummij, impensis Lucae Iennis,
1617 - 621 pages 316 1193/1206 1280, depicted at page 262 in Symbola aureae mensae duodecim nationum
317 See for further details The Wycliffe Bible
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Judas wears a yellow robe over blue garments and a white purse, and as a traitor he has been
separated from the other disciples.
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327Gulliver's Travels
328The Name
329The Name
330The Name
331The Name
332The b in Iabe may have been understood as the w or uu (double u)
333Quaestiones in Exodum cap. XV quoted in The Name Of God Yehowah. Its Story, By Grard Gertoux
334The Name Of God Yehowah. Its Story, By Grard Gertoux A7 - Is Galatino the first who introduced the name
Jehovah in 1518?
335resp. Iehoua or Iihue not derived from Ioue (Jupiter!), but from from Aramaic yihweh, respectively Hebrew Iehoua
336However, there are other equally reputable scholars who can provide evidence that the underlying Greek of Jave is
"" and not "".
337London Papyri. Xlvi, 446-482
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338Miriam Stein with Alexander Fehling, playing the title character Johann Goethe, who creates the poem masterpiece,
'The Sorrows of Young Werther,' in the romance-drama, 'Young Goethe in Love.' (Musicbox films )
339 R.D. Boylan, Release Date: January 2, 2009 [EBook #2527]
340available at Project Gutenberg
341Goethe, Johann (1810). Theory of Colours, paragraph #502.
342German:Die Leiden des jungen Werthers
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347 Symbolism in Antipodal Colors - explaining the backgrounds to Goethe's Color Theory
348Miranda gave at least two sources of inspiration for his flag. In a letter written to Count Simon Romanovich
Woronzoff (Vorontsov) in 1792, Miranda stated that the colors were based on a theory of primary colours given to
him by the German writer and philosopher Johann Wolfgang von Goethe. Miranda described a late-night
conversation which he had with Goethe at a party in Weimar during the winter of 1785.
349See Flag of Colombia#History
350 also quoted from Wikipedia
351Probably to be understood as light (represented by yellow) in contrast to shadows (represented by blue)
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According to Goethe the flag, the flag's symbolism ( its three basic colors) and the name are to be
seen as the fundamentals for the country. In fact the world seemed to have been built from three
colors in which the red color is the synthesis of both antipodal elements yellow and blue.
Fig. 106: First flag of Gran Colombia, 1819-1820. Stripe ratios 2:1:1
This file has been published in Wikipedia by Shadowxfox
and is licensed under the Creative Commons Attribution-Share Alike 3.0
Unported license.
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358 Franziska Struzek-Krhenbhl: Farbe der Unendlichkeit. Zur Farbsymbolik der blauen Blume von Novalis.
359Goethe , Werke, Volume 13
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Yellow is a light which has been dampened by darkness Blue is a darkness weakened by
light362.
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There are only two pure colors blue and yellow; the rest are degrees of these.
In Goethe's color circle magenta may be found as the composition of red & blue directly opposite to
green, which proves that the true antipodal color to magenta is green. However magenta is not a
spectral color. Goethe needed this color to match antipodes for all colors in a circle and therefore he
needed magenta as a partner for green.
For Newton, only spectral colors could count as fundamental. By contrast, Goethe's more
empirical approach led him to recognize the essential role of (non-spectral) magenta in a
complete color circle, a role that it still has in all modern color systems."[21] 363
Goethe considered his work on color theory as more important than his poetry 364, which explains
that the theory of colors also must be considered as an important philosophical topic:
As to what I have done as a poet... I take no pride in it... but that in my century I am the
only person who knows the truth in the difficult science of colors of that, I say, I am not a
little proud, and here I have a consciousness of a superiority to many.
This statement clearly illustrates the impact and importance of colors in the Goethe's philosophy.
Goethe may have convinced the South American revolutionary Francisco de Miranda, who
applied his philosophical idea to design the national flags of Colombia, Venezuela and
Ecuador with the primary colors blue, red and yellow, although in the modern color theory
red cannot really be considered as a true synthesis' symbol for blue and yellow, unless the
reader is willing to accept an unrealistic explanation such as:
A mixture of blue and yellow will produce green, which is an antipodal to Goethe's
synthesis color symbol magenta, a composition of red & blue.
In contrast the US-American flag and the South-Korean flag have been designed with the correct
biblical primary elements red & blue, although they cannot be considered as true antipodes in the
color triangle. Instead red & blue are the border elements in the rainbow, which may be observed
by the human eye without any tools. In contrast Goethe needed optical tools to analyze the solar
specter and identify blue and yellow as true antipodes, but yellow is no primary color in the RGBtriangle.
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365 An English translation by Harriet W. Preston for this poem is found at Mirio (translation published in 1885)
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1-28
God blessed iu. God said to iu, Be fruitful, multiply, fill the earth, and subdue it.
1-28
Genesis 1-31
God saw everything that he had made, and, behold, it was very good. There was evening
and there was morning, the sixth day.
I will not return to destroy Ephraim:
For I am God, and not man; the Holy One in the midst of you;
And I will not come in wrath.
Hosea 11-9
For I am Diu, and not iu; the Holy One () in the midst of iu;
...and they shall make holy garments for Aaron your brother, and his sons, that he may
minister to me in the priests office. 5They shall take the gold, and the blue, and the purple, and the
scarlet, and the fine linen.
Exodus 28-4
The poem Mirio is a new Rosetta Stone for etymology, explaining the structure of the personal
pronouns I, U and We (UI)
and the colours for the priests' garments.
I never saw any message within singular words comparable to Diu, and iu.
Who needs a full Bible to explain the Genesis legend?
According to etymologists367 the pronouns I, You and We are the most important words in any
language.
The English pronouns i, you (u) and we (ui) (probably?) have been derived
from Diu and/or iu...
366 Full details will be explained in the Etymology for the Pronoun 'I'
367 Source: the wordlist proposed by Morris Swadesh (quoted by C. Renfrew 1988), and published in BRES, Nr. 149,
Augustus/September. 1991.
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For what was the meaning of the square tabernacle raised by Moses in the wilderness, if it had
not the same cosmical significance? "Thou shalt make an hanging . . . of blue, purple and
scarlet"
"If modern masters are so much in advance of the old ones, why do they not restore to us the
lost arts of our postdiluvian forefathers? Why do they not give us the unfading colors of Luxor
-- the Tyrian purple; the bright vermilion and dazzling blue which decorate the walls of this
place, and are as bright as on the first day of their application? 369
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Together, they represent a continuous movement within infinity, the two merging as one.
The earliest surviving depiction of the flag was printed in a U.S. Navy book Flags of Maritime
Nations in July 1882.
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Boaz is known as the pillar of strength or severity and represents the Sun. Jachin is known as the
pillar of beauty or mildness and represents the Moon. Boaz and Jachin are built into the architecture
of all masonic lodges.
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Philemon381
Philemon has been depicted with the kingfisher's colors red & blue, which also may be found in the
borderline's patterns.
Fig. 112: Philemon with the kingfisher's colors
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1932: Superman382
Superman is a fictional character, created 1932 in the USA. The character's appearance is
distinctive and iconic: a mainly blue, red and only partially yellow costume with a stylized
"S" shield on his chest383. In its original inception in Action Comics #1, Superman's symbol
was a letter S with red and blue on a yellow police badge symbol that resembled a shield.
Superman is most vulnerable to green Kryptonite, mineral debris from Krypton transformed
into radioactive material by the forces that destroyed the planet. Exposure to green
Kryptonite radiation nullifies Superman's powers and immobilizes him with pain and
nausea; prolonged exposure will eventually kill him 384. One of Superman's antipodes, the
Toyman, has been depicted in green or red & blue combinations385.
382
383
384
385
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In a historical retrospect the designers of the most popular superheros preferred the primary colors
red and blue to characterize their most important symbolism.
Red and Blue indicate a bipolar set of archetypes centered around purple as the divine symbol as a
combination of red and blue. Bipolarity ruled the symbolic world of superheroes before writing had
been established.
The ancient decorations of temples, sculptures, bibles, paintings, frescoes, coats of arms, flags have
been revived in the modern comics, games and movies of the twentieth century. Subconsciously the
archetypes survive and will be inherited to the next generations to perform their stabilizing
functionality in coming generations.
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390
At elementary school in Eindhoven in 1954 a Catholic teacher ordered the children to draw male
persons (Jesus, Adam & God) in red colours and female persons (Eve and the virgin Mary) in blue.
After the Fall of Man the couple had to be drawn in purple.
390 Reference in German at: Religionsunterricht 1954-1955 and in Dutch language at: Godsdienstles 1954-1955.
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(40x30cm)
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Conclusion
6000 years ago an Indo-European people initiated an overwhelming successful and monumental
idea in designing a Proto-Indo-European-language and a corresponding religion, which covered the
globe in the following six millenniums. No European region has been spared from this gigantic
wave and we may identify the influence in all continents and all historical records. Therefore it has
been easy to reconstruct the basic principles for the Proto-Indo-European religion and language,
which partially seem to have been copied to the Hebrew religion as well.
The PIE-System has been designed as a bipolar concept of an androgynous deity, which created an
androgynous human being according to its own image, consisting of a male and a female half. The
first androgynous human being has been encoded in the divine name (e.g. Diu), in the
corresponding pronoun of the first person singular (e.g. iu) and in the colors red (male), blue
(female) and purple (androgynous, divine).
Originally the pronouns of the first person singular had been designed as pure vowel-sequences, in
which the vowels I and U represented the antipodes and the other vowels may have symbolized the
divine, androgynous core. For religious reasons these vowels have been sacred amongst several
peoples, who copied the basic principles. The Indo-European peoples however did not treat the
vowel-structures as secret concepts.
After destruction of the PIE-religion the converted PIE-peoples must have been motivated enough
to rescue some of their ancient androgynous PIE-symbolism in their new Christian environments.
Mediterranean peoples (French, Italian, Spanish) were able to preserve their divine names (Diu,
Deus, Dio, Dios) and their divine pronouns (iu, je, eu, io, yo, I, etc.), whereas a great number of
peoples (French, Dutch, English) managed to conserve the symbolic colors, which previously also
had been documented in the Bible, in their coats-of-arms, flags, ancient coins, paintings and tombs.
Others conserved some of the ancient androgynous sculptures, temples and hieroglyphic runes,
which have been excavated in recent years.
Although the basic PIE-principle is easily understood none of these PIE-symbols seem to have been
recognized at first glance. This description may provide access to the idea of PIE-religion and
-language in explaining the religious symbolism in the divine names, in the personal pronouns and
in the color code of the ancient temples, medieval tombs and the flags.