In his groundbreaking book from 1980 ‘The Saturn Myth’ (inspired by the work of Immanuel Velikovsky) researcher David Talbott analyzed myths from ancient cultures around the world and found that they all described the same phenomenon surrounding Saturn. He found that symbolism for Saturn is the same throughout ancient Mesopotamia, India, Greece, the Americas, and Egypt, and as documented by ancient cultures, explains how there was once a celestial alignment involving Saturn that occurred thousands of years ago. Based on ancient accounts throughout the world, Talbott describes a period of “great upheaval” in celestial bodies, when Saturn, Venus, and Mars descended and aligned overhead Earth in a spectacular astronomical event dubbed the “Saturn Polar Configuration”.
As Talbott says in ‘The Saturn Myth’: “[The Saturn Polar Configuration is] the idea based on comparative mythology, that the Earth was once in close proximity, or even a satellite of the planet Saturn”. During this celestial upheaval, Mars descended from its position in the sky and formed a connection or stairway to Saturn and Venus which over time became morphed into various mythological concepts, including the heaven-sustaining giant Atlas, the Tree of Life, Mount Olympus, the Boat of Ra, and the Tower of Babel, inter alia. Various cultures around the world recorded this celestial stairway. For example, the Makirtare Indians of the Amazonian rainforest tell of a time where the hero Ahishama, identified as Mars, climbed a stairway to Heaven. Talbott calls this stairway the “Cosmic Mountain”. There are various illustrations of how this alignment may have looked here.
During this time of celestial upheaval, Saturn and the other bodies that were aligned with it went through various configurations in the sky (see the documentary series ‘Discourses on an Alien Sky’) and at one point the light from Venus behind Mars formed what appeared to be a pupil inside a triangle that Talbott associates with the All-Seeing-Eye. As Talbott explains in ‘The Saturn Myth’: “Saturn wears the band as a golden girdle, collar or crown. He dwells in it as the pupil of the All-Seeing-Eye… It’s impossible to pursue Saturn’s ancient image, without encountering the paradise of Eden, the lost Atlantis, the All-Seeing-Eye of Heaven, or the serpent-dragon of the deep”. The Saturn Polar Configuration was mostly characterized by an 8-pointed star or 8-spoked wheel and the light shining from Venus created a crescent of light under Saturn. Here are images of Saturn holding an 8-spoked wheel (as shown in ‘Discourses on an Alien Sky’). The luminous crescent of light under Saturn was morphed and anthropomorphized. The Saturn-crescent was morphed into wings, with the solar disc (Saturn) placed in the centre, such as with the Egyptian winged Kheper.
Quote from ‘The Saturn Myth’: “Of the crescent in the primary images and ancient sources present these basic forms: The horns of the bull-god or the uplifted arms of the heaven-sustaining giant [such as Atlas]. The outstretched wings of the mother goddess. But these same wings, or arms, constitute the great god’s sailing vessel, which in turn is depicted as two shining horns”. As Talbott points out in ‘The Saturn Myth’, the fundamental themes of Saturn imagery include the Saturn Ship, the All-Seeing-Eye, the two sacred pillars of Heaven, the two shining horns, and the uplifted arms of the heaven-sustaining giant, and stairways to Heaven like Jacob’s Ladder, which were all based on the same celestial alignment in the sky. Throughout this article I’ll be using the terms “Saturn Polar Configuration”, “Saturn Sun”, “Saturn Ship”, “Saturn Stargate” and “Cosmic Mountain to Saturn” interchangeably, as they represent essentially the same celestial phenomenon.
The idea of a celestial stairway, it can be shown, is simply a variation upon the widespread theme of a World Tree. As Romanian historian of religion Mircea Eliade has documented, such ideas have been around since the dawn of time, saying: “Ascent to the sky along the Axis of the World is a universal and archaic idea”. The same scholar goes on to summarize this theme and its attendant myths as follows: “If we try to achieve a general view of all the myths and rites just briefly reviewed, we are struck by the fact that they have a dominant idea in common: Communication between Heaven and Earth can be brought about — or could be in illo tempore — by some physical means (bridge, stairs, ladder, vine, cord, ‘Chain of Arrows’, mountain, etc).
All of these symbolic images of the connection between Heaven and Earth are merely variants of the World Tree or the Axis Mundi”. That the planet Mars was itself linked to ancient conceptions of the World Tree has been documented by other scholars in addition to Talbott. For example, in her book ‘A Dictionary of Symbols’, Joan Cirlot reports that: “The Tree of Life, when it rises no higher than the mountain of Mars is regarded as a pillar supporting Heaven”. The World Tree, also known as the Cosmic Tree, Axis Mundi, or Tree of Life, is a symbolic representation of a central axis that connects different realms, dimensions, or planes of existence within a cosmology. Esoterically, the World Tree was associated with Divine Union (becoming one with self and source) and can be seen on Masonic Tracing Boards (as shown below).
As Mars descended from its position in the sky the link that it created to Saturn and Venus formed in such a way that the planets appeared as a spectacle reminiscent of a keyhole. The Saturn Polar Configuration keyhole-shape appears to have been immortalized in ancient mythology, art, and esoteric symbolism across various civilizations, including Sumerian, Babylonian, and Egyptian cultures, such as the Menat symbol and Tanit symbol. See some examples in the video below.
The keyhole Ankh symbol:
The Egyptian symbol of the Ankh was based on the Saturn Polar Configuration, as Talbott explains in ‘The Saturn Myth’, saying: “The Ankh (whose origins experts have long debated) is but a conventionalized image of the [Saturn] Polar Configuration”. In his book ‘Secret Societies: Revelations About Freemasons’, Philip Gardiner explains that the Ankh was seen as a gateway or portal into a higher dimension. Quote: “The Ankh is known as the Crux Ansata. It’s a simple T-cross, surmounted by an oval — called the Ru. The Ru is often seen as a gateway or portal to another dimension, such as Heaven. The Ankh therefore becomes the symbol of transition from one place to another. It outlived Egyptian domination and was widely used by the Christians as the [Latin] Cross”. As well as being linked to the Ankh, the Saturn Polar Configuration can be linked to other symbols. Probably the most recognizable Masonic symbol is the All-Seeing-Eye, included in the architecture of the Great Seal of the U.S. Dollar Bill. Fixed within a triangle, the disembodied eye is surrounded by rays of light and rests upon an unfinished pyramid.
The All-Seeing-Eye finds its roots in ancient Egypt as the Eye of Horus (or Ra) and can be traced back to the Saturn Polar Configuration. During the alignment of Saturn, Venus, and Mars, in their different configurations, they formed a triangle and 8-pointed star. Quote from ‘The Saturn Myth’: “Saturn wears the band as a golden girdle, collar or crown. He dwells in it as the pupil of the All-Seeing-Eye”. To see this All-Seeing-Eye alignment explained see ‘Discourses on an Alien Sky#5’. The image below is how this may have looked. In his book ‘The Ark of Millions of Years’, physicist Alexander Agnew, who has published thousands of technical papers, says: “The portal into Heaven is marked by the All-Seeing-Eye”. So, could this be what the Saturn Polar Configuration essentially is, then? Some portal or gateway into Heaven?
The video below explains the All-Seeing-Eye alignment.
This is likely the inspiration for the All-Seeing-Eye on the U.S. Dollar Bill.
Below is an old Freemason Tracing Board showing the All-Seeing-Eye over a pillar, with the pillar likely representing the Cosmic Mountain:
The image below is a comparison between the Masonic Square and Compass, the Stargate logo (in the centre) and the Cosmic Mountain to Saturn and Venus (on the right) also called the “Saturn Polar Configuration”. The design of the Square and Compass corresponds to the configuration of Saturn, Venus, and the Cosmic Mountain, as seen in ‘Discourses on an Alien Sky’. In this interpretation, the circle at the apex of the Masonic Compass represents the Blazing Star (generally assumed to be either Sirius or Venus) and the triangular appearance of the Compass itself represents the Cosmic Mountain or pathway. Essentially, this is what I believe the Masonic Compass and Square represents at its core — a stargate.
The 8-pointed star (which appeared during the Saturn Polar Configuration) is a symbol of Freemasonry and can be found in Masonic artwork and architecture, sometimes represented as the Blazing Star. In his book ‘Morals and Dogma’, famous 33 degree Freemason Albert Pike connects the ancient Sun to the All-Seeing-Eye and the Masonic Blazing Star, saying: “The Blazing Star has been regarded as an emblem of Omniscience, or the All-Seeing-Eye, which to the ancients was the Sun”. We know that the ancients considered Saturn to be the Sun, as explained by Talbott in ‘The Saturn Myth’. In 1909, the leading expert Morris Jastrow brought this fact to the attention of others in a fascinating article entitled “Sun and Saturn”. According to Jastrow, Babylonian astrological texts could not have presented the equation of Saturn and the Sun more boldly: “The planet Saturn is Shamash”, they say. Among the Assyrians and Babylonians, the Sun-god par excellence was Shamash, the “light of the gods”. In countless texts and symbolic representations Shamash is depicted as the ruling light and god of the day. Greek historian Diodorus of Sicily reported that the Chaldeans, renowned astronomers who ruled Babylon in the 6th-century BC, called Kronos (Saturn) by the name “Helios”, which means “Sun”, explaining that it was the most conspicuous star in the sky. Meanwhile, Roman writer and Neoplatonic philosopher Macrobius identified Kronos (Saturn) as the Sun, and Latin author Gaius Julius Hyginus (64 BC – AD 17) noted that Saturn was referred to as “Sol”, meaning “Sun”. Troy McLachlan, says, in his book ‘The Saturn Death Cult’: “The ancients did indeed see a Sun-like object residing in their skies, and that object was Saturn”.
According to Alfred De Grazia in his book ‘Homo Schizo: Human Nature’, Isaac Vail connected the All-Seeing-Eye (which remember, was the ancient Sun and Blazing Star) to the Saturn Polar Configuration, saying: “The All-Seeing-Eye is one of the earliest and most nearly universal symbols. Isaac Vail believed that the primordial eye was the boreal opening from which Saturn on his throne looked down upon his domain”. The letter G in the image below takes the place of Venus in the Saturn Polar Configuration. 33 degree Freemason Arthur Waite quotes Éliphas Lévi telling us that the letter “G” stands for Venus (see his book ‘The Mysteries of Magic: A Digest of the Writings of Éliphas Lévi’).
Another instance of the 8-pointed star on a Freemason building in Lisbon:
During the various configurations of the Saturn Polar Configuration that produced various visual characteristics in the sky, the comparatively smaller orb of Venus — and also at different times Mars which produced a darker dot — appeared as a dot that passed in front of the larger orb of Saturn creating the following image: ⊙, resembling an eye (called the circumpunct). Talbott gives an explanation of this image in ‘The Saturn Myth’, saying: “The ancients preserved more than mythical-historical accounts of Saturn’s rule. From one section of the world to another the planet-god’s worshippers drew pictures of the Saturnian Configuration, and these pictures become the universal signs and symbols of antiquity. In the global lexicon of symbols the most common images are the enclosed Sun ⊙ and Sun-cross ⊕. It appears that every ancient race revered these signs as images of the preeminent cosmic power. In Mesopotamia and Egypt the signs occur in the earliest period. Prehistoric pottery and rock carvings from Crete, China, Scandinavia, Africa, Russia, Polynesia, and the Americas suggest that numerous ancient rites centred on these simple forms, which became the most venerated images in the first hieroglyphic alphabets”.
Popular author Dan Brown explains the circumpunct (⊙) as follows: “In the idiom of symbology, there was one symbol [the circumpunct] that reigned supreme above all others. The oldest and most universal, this symbol fused all the ancient traditions in a single solitary image that represented the illumination of the Egyptian Sun-god, the triumph of alchemical gold, the wisdom of the Philosopher’s Stone, the purity of the Rosicrucian Rose, the moment of Creation, the All, the dominance of the astrological Sun, and the omniscient All-Seeing-Eye that hovered atop the unfinished pyramid”. Wikipedia says: “Throughout history, the circumpunct has been all things to all people; it’s the Sun-god Ra, alchemical gold, and the All-Seeing-Eye”. In ‘The Saturn Myth’, Talbott identifies Ra as Saturn, saying: “One finds of interest an Egyptian ostrakon (1st-century BC) cited by Franz Boll: The ostrakon identifies the planet Saturn as the great god Ra”. The circumpunct can be seen in Freemason artwork (as shown below). The image on the bottom right is an illustration of the Saturn Polar Configuration with Venus as the luminous dot from the documentary ‘Symbols of an Alien Sky’.
In some artistic representations, the luminous U-shape of the Saturn-crescent created by the bright light from Venus (as shown above in the image on the right) became morphed into two pillars. Quote from ‘The Saturn Myth’: “The hieroglyphic symbol of the Shu-pillar or mountain [the Saturnian Cosmic Mountain] is called the two pillars of Heaven”. The two pillars are a Masonic symbol, known as Jachin and Boaz. According to whom you speak, the esoteric Masonic pillars are associated with various things. The Masonic pillars are associated with the pillars on the Kabbalistic Tree that symbolize “Severity” and “Mercy” and were part of a symbolic use of Solomon’s Temple, but can be traced back further. The Saturn-crescent (as seen in ‘The Saturn Myth’ and ‘Discourses on an Alien Sky’) was morphed into two pillars and was represented by the Egyptian hieroglyph “Akhet” which translates to “Horizon of Light” or “Mountain of Light”.
The Mountain of Light was the Cosmic Mountain and the Masonic pillars were based on the Saturn-crescent which formed a luminous U-shape. Of course, the twin pillars of Hercules point to the same idea”. These two pillars have most famously been incorporated into the symbolism of Freemasonry. The Masonic pillars stand at the “gateway to Heaven”, an Axis Mundi, a place where worlds meet and commune with each other. Going beyond the Masonic pillars can mean leaving behind Earth to reach a higher realm of enlightenment and transform the body spiritually into an everlasting existence. As Robert Palazzo explains: “Symbolically speaking, going beyond the Hercules pillars meant leaving the foulness of this world into a higher realm of enlightenment”.
Notice the Saturn-crescent below which appears as two pillars:
This same symbol is seen throughout the ancient world such as the Phoenician Tanit symbol where the Saturn-crescent has become fully morphed into pillars:
The symbols above became the basis for Freemason Tracing Boards showing the Blazing Star placed between two pillars:
The Saturn Polar Configuration actually consisted of an alignment of several planets, but some were hidden behind Saturn, such as Jupiter, as Talbott notes in his various video-documentaries. The Saturn Polar Configuration is associated with the idea of the soul ascending through planetary spheres to reach Heaven. The belief that the soul must ascend through planetary spheres to reach Heaven is rooted in various cosmological and philosophical concepts. Greek philosopher Plato believed that the soul must ascend through planetary spheres to reach its eternal state in the stars. The seven planetary spheres that the soul ascends through to reach Heaven are connected to the seven sins. One can think of each planetary body corresponding to a sin and these sins as spiritual tests. The planetary bodies are like gateways that one passes through.
The Saturn Polar Configuration has been associated with the concept of gateways or cosmic portals in various interpretations. In some interpretations, the Saturn Polar Configuration is seen as a gateway to other realms or dimensions. The celestial alignment is believed to have represented a cosmic portal through which beings could pass between different realms of existence. This concept aligns with ancient mythologies and esoteric beliefs that often associate celestial bodies and cosmic events with the opening of gateways or pathways to higher realms of consciousness or spiritual enlightenment. In ‘The Saturn Myth’, Talbott corresponds the Saturn Polar Configuration to a gateway, saying: “The god “comes out” and “goes in” on the [Saturnian] mountaintop through the “gate”, but he accomplishes this without moving from his fixed abode”. According to Ev Cochrane, in his book ‘Martian Metamorphoses’, the Saturn Polar Configuration was essentially a gateway into Heaven, saying: “An important hymn relates the opening of the heavenly doors to the illumination of Sin: “Sin, as you become visible you open the doors of Heaven”.
Here is yet another passage which can only appear as an absurd poetic metaphor from the conventional perspective. Yet from the unique vantage point offered by the Saturn theory, this passage can be taken as a literal description of the [Saturn] Polar Configuration: As the crescent of Sin descended to a position beneath Saturn, as in figure four in chapter six, it grew brilliant — thereby signalling the opening of the gates of Heaven”.
The Saturn Polar Configuration went through various configurations that produced various visual characteristics in the sky, but was mostly characterized by an 8-pointed star. The 8-pointed star was known as the “Cross of Ilu” or “Bab-Ilu” which means “Gate of God”. According to investigative mythologist William Henry, the 8-pointed star represented the Gate of God, saying: “Wherever archaeologists discovered remains of the early Sumerian civilizations the symbol of the “Gate of the Gods” was prominently displayed.
The Sumerians depicted this gate as an 8-pointed star”. Since the beginning of the written word, countless stories have begun by ripping holes in the fabric of reality and pulling their protagonists through. Portals date back to the oldest written text we have on record — the 4,000-year-old Sumerian tale Epic of Gilgamesh — in which the hero travels through a mountaintop portal to the land of the gods. In the Epic of Gilgamesh, the hero travels to the gate of the Sun-god Shamash at the mountain of Mashu (the Saturnian Cosmic Mountain).
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