The Vatican has many different monuments and sculptures. One of them is a four-meter pine cone cast in bronze and plated with gold.
The entire huge yard in which the monument is located is called the Shishka yard. There is a pretty arrangement around the cone interesting composition. Firstly, the bump itself has nothing to do with Christian symbolism. The cone is symbolically held from below on a marble pedestal by many people. The pine cone symbolically stands on people, crushing them with its weight.
On the sides of the cone there are two peacocks, and from under the cone flows a source of water, which is guarded by two lions.
In the small courtyard behind the cone there are eight statues of the ancient Egyptian goddess Sakhmet. She was depicted with the head of a lion, which caused her identification with Pakht, Tefnut and Bast.
She was the personification of solar heat and the destructive energy of the Sun, and therefore a disk was depicted on her head. As the goddess of heat, Sekhmet seemed quite severe. In the later myth about the extermination of rebellious humanity by the god Ra, Sekhmet, as the eye of Ra, enjoyed beating people, and only the red wine spilled on the ground by the gods, which Sekhmet attacked, mistaking for blood, and from which she became drunk, made her stop the massacre. In case anyone doesn't know, the Eye of Ra symbolizes the Pineal Gland.
It’s quite interesting with lions. The lions are not simple, but ancient Egyptian; every lion monument has ancient Egyptian hieroglyphs written on it.
There is also such a figurine on the left side of the cone. It resembles male genitalia. Nothing Christian, just pagan symbolism.
Of course all ancient history The Vatican is a fiction. They say that the cone was cast in the 1st-2nd centuries. AD Publius Cincius Salvius, this is stated on its basis. Everything is as usual, Shishka appears in the yard as a result of some rearrangement and rearrangement. They say that the gilded bronze cone was originally placed on the Champ de Mars, but was moved to a new location in 1608.
This is what they say, but in reality the cone was cast in 1608. The Vatican is full of falsifications that pass off as antiquities. It is impossible without this, because if you set the true dates for the production of many Vatican sculptures, then many unpleasant questions will arise for the Vatican - why were monuments with pagan symbols created? Therefore, falsifiers pass off their religious buildings as ancient monuments.
The pine cone symbolizes the pineal gland, with the help of which huge human masses are controlled. Passing off operations to change the functioning of the Pineal Gland as religious customs, groups of people with different types biological behavior.
For example, members of a Jewish group artificially change the functioning of the Pineal gland using surgical intervention. The group is used to manage colonies. With the help of this group, the illusion of majority opinion is artificially created.
But most importantly, with the help of this group, DNA that has undergone brain mutation is distributed. In simple words people have their brain weight reduced, which is intelligence.
The elite, through operations on the Pineal Gland, secretly reduces people's intelligence and makes them stupid. Then the stupid people are forced to believe in an invented god, with the help of which the elite gives the people rules of behavior that are beneficial to them.
People who have altered functioning of the Pineal Gland are presented as a separate people. They are not told the truth, they are fooled, they are told a made-up biblical tale. They are told: See, you are not like other people, this is because you are God's people. They are given made-up Bible stories to read. Deception has gone so far and the whole world believes in it so readily that most people cannot even imagine that they are all being deceived.
So, in the images discussed earlier there are two types of “bumps”. One of them is placed on the ground or on a pedestal, as in the images with Asclepius, the other is crowned with a “scepter”-type instrument in the hands of Hermanubis. The difference is fundamental - in the first case, the “bump” is clearly “grounded” and its connection with the Earth is clear. In the second case, the “bump” is raised above the ground, and sometimes even provided with wings to make the difference more significant. An interesting detail is that in many images the scepter is held not in a bare hand, but through a cloth. Through a dielectric. As is done in many modern cults, when it is necessary to emphasize the special significance of a shrine that cannot be touched with unworthy hands. Just like housewives take a hot frying pan through oven mitts. In this case, there is nothing to say about the sacredness of the action - it’s just a safety technique. A good electrician will not only wear rubber gloves, but also place a rug under your feet.
Images of “cones” in the form of “decorative elements” can be seen on the walls of Christian churches and in their interiors. And not only Christian ones. She's everywhere. The cones are important element Christian iconography included in the design of books, candlesticks and other ritual artifacts. And if you ask anyone (someone who seems competent), you can hear many beautiful explanations about the fact that the pine cone symbolizes rebirth and fertility. This does not sound very convincing, since any fruit can serve as such a symbol - even an apple, even a cucumber. And Christ didn’t say anything about cones in his parables. The symbol is clearly pagan, and there is an obvious omission in the explanation so as not to confuse the laity.
The question naturally arises: - what kind of bump are they always trying to show us from ancient times with such existential obsession?
... Are you grinning again, cynics?
A place of fortune telling.
The interior of the Vatican Museum complex is called Giardino della Pigna, or Place of the Pine Cone, after the multi-ton, four-meter bronze statue representing a simple pine cone. In the courtyard, which was specially designed by the architects for it, there was no place for the Life-Giving Cross, statues of the Virgin Mary, Christ or the apostles. Central and the most important place does not occupy the entire architectural complex christian symbol, and the cone is a pagan symbol. Why pagan? The cone was modeled and cast during the first century AD. On the base there is the signature of the master who made the cone: Publius Cincius Calvius, a freedman from the slaves. The former location of the cone is unknown exactly - according to some sources, it is part of a once-former fountain, according to others, it was found in the ruins of Hadrian’s mausoleum or in the Temple of Isis, which was located near the Pantheon - but, between -514. Pope Symmachus erected it in the square in front of the Basilica of St. Petra, then became a detail of the new fountain, and later took a central place on the pedestal in front of the giant arch. The sculpture did not have any special beauty, or antiquity at that time, and it is difficult to say why it avoided being melted down.
Bronze birds with snake necks, peacocks, were made during the last installation of the cone, in addition to it. And if we compare the image of a cone from a relief in Pompeii with this image, in order to find ten differences, we will see that the birds and snakes from Pompeii here chimerically merged into bird snakes. Two in one. Peacock, the bird is not unambiguous as a symbol. Some Muslims consider the peacock to be the bird of the devil - but this refers more directly to the Peacock Angel (Tavusi Malak), who was worshiped by the Yazidis (Kurds who do not consider themselves Kurds). Since the Yezidis are not “people of the Book,” it means that all their views, according to the logic of such Islamists, are satanic. In Hinduism, the gods use the peacock as vehicle which they ride on and see as the “sun”. In Iran, peacocks standing on both sides of the Tree of Life signify dualism and the dual nature of man. Christians explain the appearance of the peacock in iconography by saying that it is a symbol of resurrection, since the peacock does not rot (?) and changes its feathers every spring. Like a snake's skin, I'll add. Later, positive opinion about the peacock has changed to the opposite - it has become a sign of arrogance, arrogant pride, arrogance and vanity - which is in no way compatible with Christian values.
On the spot in the square where Symmachus once placed the cone, there is now a sculpture “Sphere in a Sphere” made by the Italian sculptor, Signor Pomodoro. Such a surname.
These two objects of the same size (4 meters) are located almost next to each other, but each of them occupies the most significant place in the placement of all possible ones. It is difficult to say which dominates the area more, the lump or the sphere. Perhaps the shining golden sphere outshines the copper patina of the cone. The sphere, as a cult object in the Museum of Antiquities, is an interesting move by the Vatican museum workers. But I think that the decision to place this object, alien to its surroundings, was not made by them.
The inner globe of the "Sphere within a Sphere" is explained as planet Earth in the cosmic sphere of Christianity. Perhaps there are other versions, but they are not given. Obviously, many agree with this interpretation, because it is in the spirit of the times: cool and glamorous, brilliant, but, strangely, why there are no questions about why these spheres are broken down like the “Death Star” in the saga of “ Star Wars"? What's with the weird stuffing in this mechanical orange? And what kind of passion did the Catholic fathers show for modernism, which they never got carried away with, preserving the traditions of the Fathers of the Church?
The outer casing of the device (and this is clearly some kind of technical unit) was blown apart by the explosion. The internal, durable casing was also damaged. Obviously, he was the target of external destructive influence. Unless the saboteurs planted a bomb inside the system. The machine is disabled. It cannot be restored, like the Kursk submarine. To complete the impression, there are not enough nearby debris.
This makes a very controversial impression against the backdrop of the marble ancient gods with broken hands that were once raised around the perimeter of the square. Why THIS?
Let me remind you of two things.
- The Vatican is the sovereign territory of the Holy See, and without the sanction of the Pontifical Committee, anything contrary to the spirit of the Church cannot appear there.
- The state received its name from the hill on which it stands - “Mons Vaticanus”, from the Latin vaticinia - “place of fortune telling”
Perhaps the Church hierarchs still had reasons to place these two objects in the most prominent places in the exhibition?
"The Stone That Whispers"
The lump that we see under the feet of Asclepius is an omphalos. In Greek - navel. The center of the world. Assemblage point. There are several legends explaining this meaning of the word. According to one of them, Zeus released two eagles from the western and eastern borders of the world to reveal the center of the planet, and marked the point of their meeting with a stone - an omphalus. According to other versions, the omphalos was the grave of the Delphic Serpent Python, and originally represented tombstone, which could serve as a point of contact between the world of the living and the dead, acting as the center of the universe.
In addition, there is information that the stone “fell from the sky,” i.e. was a meteorite.
- This is a reference point from which lines diverge, dividing the horizon into four parts.
- The stone organizes time and space.
- Omphalus defines the center for a country, city or locality. " Foundation stone»
- He is a symbolic reflection of the mind manifested in the physical world.
- With help this device could communicate with the heavens, (used to communicate directly with the gods), as well as with other places on Earth.
- Under the “stones” there were underground cavities, chambers, wells and labyrinths.
Structurally, the omphalos (of those that have come down to us) is a cone-shaped, conical, egg-shaped stone, about a meter in height, hollow, as a rule, inside. Middle photo - Omphalus, found on the island of Delos.
On the left is an omphalos from the archaeological museum at Delphi. This is a mass-dimensional model of the omphalos that was used in the sanctuary of Apollo. The conclusion follows from the fact that the real stone (according to the descriptions) was wrapped in linen bandages anointed with oil, and which absorbed that oil (possibly with technical maintenance regulations) - and here we see a sculptural imitation of these “bandages”. That is, at some time immemorial, the original, a real stone, was lost and replaced by a copy, a sculptural image of it, which is now shown to tourists. Or maybe not lost, but safely hidden. In any case, what we now see in museums are copies, imitations, and possibly “cases” for a device that once actually worked. The fact that the stone “worked” is confirmed by numerous reviews from authoritative visitors to the oracle and its wide popularity in ancient world.
The Delphic oracle was completely destroyed in the 4th century. from R.H. by order of Emperor Theodosius, and even now it is difficult to say where the “stone” actually was. This provides rich opportunities for discussions on this topic in modern historical science. Scientists are interested in the question: was the ancient omphalos placed in the cella of the temple, in the pronaos, in the room for questioners, in the opisthodome, or in front of the entrance? The question of what Omphalus was remains beyond the scope of discussion.
The Delphic stone had a “double”, which was located in the temple of Amun in the oasis of Siwa. There is information that between these two points there was a connection, like the current long-distance one. Let me remind you that this was the location of the oracle that Alexander the Great rushed to consult as soon as he arrived in Egypt - there he received a prediction that he would become a pharaoh. Siwa Oasis is located on the border with Libya. Siva - interesting place. In 525 BC. the Persian king Cambyses, after the arrival of Egypt, sent 50 thousand soldiers to conquer Siwa, but they disappeared without a trace in the desert. Their mission was to overthrow the Oracle in the Temple of Amun. Ancient historians talked about this, and for a long time it was classified as a myth by modern scientists, until in 2009 the Italians dug up the bones of those Persian warriors and their equipment in the Libyan desert.
Cambyses's campaign in Egypt looks quite strange - according to the descriptions of the Greeks, he was called “mad.” The eldest son of Cyrus the Great did nothing but burn cities, destroy monuments, and erase names from sarcophagi. Herodotus wrote that Cambyses came to Sais solely to commit a desecration of the mummy of Amasis. It is noted that when Cambyses conquered Egypt, he destroyed all the temples of the Egyptian gods, but did not touch the Jewish sanctuary, which already existed at Elephantine. It is unlikely that the weak Siwa could in any way threaten the power of the Babylonian king, and most likely Cambyses simply wanted to take possession of the “artifact” single-handedly, which “nature” opposed, slapping the army with a giant fly swatter from above and carefully covering it from view with sand for two and a half thousand years .
Siwa was destroyed much later. The fate of the omphalos is unknown.
Now Siwa looks like clay ruins against the backdrop of the “Mountain of the Dead”, between which the life of guides glimmers here and there. The once majestic Temple of Amon looks similar.
According to the contents of Pseudo-Callisthenes, a text that appeared several centuries after the death of the author, Alexander Callisthenes (historian, Aristotle's nephew and Alexander's official historiographer), the cone-shaped Libyan omphalos looked like a large shining gem. Perhaps another name comes from here, but rather the epithet is “stone of radiance.”
Herodotus wrote about two women who were kidnapped by the Phoenicians in Thebes. One of them was sold into slavery in Libya (in western Egypt), and the other in Greece. Women founded the first oracles in these countries. According to Herodotus, this version was told to him by a priest in Thebes. This story was later modified into the myth of the two black doves.
“...But, besides, he was
The stone that whispers;
Men won't know his message
The people of the Earth will not understand..."
Perhaps because a woman is able to hear more in this unclear whisper than a man - this is how her brain works. “A woman feels with her heart.”
Undoubtedly, it was for this reason that the interpreters of oracles at the temples where the “omphales” were installed were priestesses, women. They were called "Sibyls". The origin of the word is unclear to researchers; it is quite freely translated as “the will of God”, at the suggestion and interpretation of Marcus Terence Varro. And it is strange that the version of the origin of the word “Sibyl” from “Siva” is not considered. Which is quite obvious if you trace the sources.
Clement of Alexandria mentions that, according to ancient authors, the first Sibyl was the Delphic Phemonoia. In other sources, Femonoia is called Pythia. The Delphic Sibyl had another name - Herophila (daughter of Zeus and Lamia). The name Sibyl, according to Pausanias, was given to her by the Libyans.
The Sibyls literally sat on the omphalos, sitting on them when they sang their predictions. Which later gave reason to some concerned art critics who reviewed many similar oriental images to turn the omphalos into a phallic symbol, especially since in Greek it sounds like omphalos. Well, how can we manage without phalluses in our story, hussars... But about them a little later, but for now let’s look at this map.
We see that the services of soothsayers in the ancient world were in wide demand. The texts mention 18 sibyls, named after their places of residence. The most famous are Delphic, Eritrean and Kuma. Less so, such as the Hebrew (Sab, Sabba, Sambetta), which is often associated with Queen Sheba, the Queen of Sheba. However, in assessing their number and names, ancient authors often disagree, since most of them were already ancient times were called “ancient sibyls,” and it is hardly possible to restore everything with accuracy now, although there have been many attempts to do this.
Looking at these oracles from above, it is very tempting to stretch threads between them, connecting the whispers of stones into a single network, like a cellular one. Moreover, on some omphalous stones this “network” with points between intersections was already drawn.
The drawings show Etruscan omphalos. In the “classic” version, it is a “bump” entwined with a snake. But there are also ones with drawn lines, like parallels and meridians. The omphales here are similar in shape to the Delian one and a snake is present. The stones once stood in their places on the earth, and then became objects of separate worship.
It must be said that the closer to our time, the more and more the shape of the omphale moved away from the “cone” - the Roman omphales had already lost sacred meaning, overgrown with intricate patterns, turning into simply works of art, decorated with gold and precious stones, which at the last line was expressed by Faberge eggs.
The Etruscans, according to Plutarch, taught the Romans a lot, including the art of building “sacred centers.” They were built on deep “wells” covered with stone - streets were laid from those points. The Etruscans called such points “Mundus”. Universe. The Etruscans came from somewhere in the north, and where they learned such art is not known for certain. It was believed that the Hyperboreans, whose location, despite the presence of fixed connections with the Mediterranean, was not determined.
According to legend, Romulus, when founding the city, dug a deep hole that connected to the entrance to the Kingdom of the Dead. Its name is Mundus Ceres. The sacred stone that covered the pit was called Lapis manalis, "The Stone That Rules."
Rome, ...a city standing at the entrance to the underworld... well, who would have thought.
In general, if we examine in detail the structure of such oracles, we will definitely find cavities, caves or dungeons underneath them, be it in Rome, Siwa, Delphi or ... Paris and London. In some cases these are moves in underworld, in others - the graves of chthonic creatures, like Python or Typhon, and in some - their habitat. And in all this, duality is manifested in the question: what did ancient people need more, connections with heaven or earth? Who did you talk to using this communication system?
The scheme is approximately the same everywhere:
Note that the image on the Egyptian fresco includes both birds and snakes.
Speaking about Paris, I didn’t say anything. The entire territory of Europe, and indeed Eurasia as a whole, is dotted with similar stones, like reference points. Here are a couple of stones from Ireland:
On the left is a stone from a farm Turoe. Height 90 cm. It was moved here in the 1850s from a place near the village of Rat, in order, as noted, to preserve it from vandalism. And then they complain that the historical affiliation with that place has been destroyed. But some historians believe that the Irish themselves could not have conceived of what was known about the “oracles” of ancient Europe and define the origin of the stone as French. Like, in Celtic times it was carried around like a family heirloom. The making of the stone dates back to around 500 BC. Naturally, everyone would like to know the place where the stone was installed for which it was intended. But (as in the vast majority of cases with such artifacts), it is impossible to find out - they have long been removed from their places and moved. What I mean is that compiling a grid map of the location of the “centers of the planet” based on modern data on the location of many similar stones is speculative and inaccurate. However, gymnastics for the mind is not bad.
As for the carving on the stone, some believe that this is a primitive image of a map of the globe. Others (ugh .., well, finally! Hussars rejoice!) think that this is a male penis, with the foreskin retracted, and the spirals are streaks of sperm, calling this point of view “alternative”. This is what they write in encyclopedias: “Alternatively it is seen as a phallus, the band below the glans representing the rolled foreskin, and the spirals possibly semen.”
Just imagine how in Celtic times the adherents family values from France they carried a penis weighing almost a ton. Let's rejoice for them and for the art scientists and move on.
The Castlestrange stone (pictured on the right) did not reach the phallus, so its carving is determined by the traditional Irish “snake” stele. There are three other large stones of a similar shape known in Ireland, the purpose of which is not determined by official science.
Separately, we note that these stones are considered the national treasure of Ireland and are protected by law. This is in contrast to our Russian patterned stones, which are scattered in abundance throughout forests and hillocks. If there was any place where paganism was so mercilessly suppressed, and its material traces were carefully erased, then it was Russia.
Fertility symbol
Of course in this brief overview One cannot remain silent about “lingams”.
Lingam translated from Sanskrit means a mark, a sign. The most ancient Hindu samples are not much different from Egyptian, Greek or Asia Minor: they were modeled with a carving of a “cone” structurally similar to scales, served as geosymbolism and were explained by the image of the Eternal Unmanifested Para-Shiva manifested here. But over time and thanks to the rich imagination of the Hindus, their shape became more and more elongated, and eventually, on the top of the lingam, the head of the male penis appeared, initially as a hint, guessed - and then with a naturalistic revelation. Like, here you go.
The Hindus liked the symbol extremely and it was widely disseminated, circulating in millions of copies, no longer remembering its real purpose, and interpreting it as “the indivisible unity of the male (Shiva) and female (Devi) principles, from the union of which life comes.” Which was expressed graphically, and with all Hindu spontaneity, in the combination of lingam and yoni. “Yoni” literally means “vagina”. Womb, uterus. At the same time, oddly enough, the yoni among the Hindus is an active principle. And an erect penis is passive.
Art critics are taking revenge here. Well, yes - there are people who worship “phallic symbols”. “Be fruitful and multiply”, why not? Symbol of fertility. Good deal.
But all this is only indirectly related to our topic. So, sometimes you pull a thread, but you pull it out, um... well, you understand.
Let's return from this erotic journey to the West.
A pine cone tattoo means health, life, fertility, love, fire, luck, fertility, creative power, new beginning, courage, reliability, movement, balance, connection with nature.
The meaning of the bump tattoo
Tattoos with the image of a cone are not so common. This is due to the fact that few people know its meaning. It’s in vain, because since ancient times the cone has carried images of such symbols as sky, fire, sun and even the Universe itself.
The cone is usually associated with health, life and courage. Many years ago, it was dedicated to the god Baal-Hadad and his wife Asherah: the god of fertility and goddess of love. The spiraling layers-cells of the cones, in which the seeds of the plant are hidden, indicate fertility.
The tattoo is associated with another deity - the god of inspiration, vegetation and natural forces, Dionysus. Often you can see a lump in his hands. In this case, it personifies the endless cycle of life in nature and constant rebirth.
A bump tattoo can act as an amulet against the evil eye, as well as to enhance male power. Thus, a tattoo not only preserves and protects physical state men, but also increases it.
The type of cone is of particular importance. For example, conifer cones have been associated with the gods of fertility and love since ancient times. A spruce cone means improved health and increased vitality. She also acts as a symbol of fire and a new beginning.
At the same time, the pine cone denotes a phallic symbol, reflecting the luck, fertility and creative power of a man. It was the pine cone that crowned the thyrsus of Dionysus.
Another interesting fact, which contributes to the associations associated with the cone - in India it was believed that it was she who became the prototype for the swastika.
The location of the pattern on the body has a special meaning. If the cone is on the thick end, then this means reliability and balance. If it stands on the opposite sharp end, it means constant movement.
If the top of a pine cone not only points upward, but also has a spiral direction, then this is an indicator of high creative power. It will indicate either an already opened internal potential, or another hidden power to be discovered in the future.
Both men and women can get a tattoo on their body, but the meaning will be different. For the stronger half, this tattoo speaks of fertility, the meaning of strength, fullness of life and attractiveness. An inextricable connection with Nature is what a tattoo means for women. Also, for the weaker sex, the cone symbolizes love.
Apply the design to the back, wrist, shoulder or forearm.
The cone can be depicted either alone or with other elements that have a direct connection with nature: animals or plants (especially trees).
The color scheme is also different. The tattoo can be black and white or have bright colors. The drawing style is limited only by a person's imagination. Very often the tattoo is performed in realism, which is a win-win option.
